As a lifelong Phantom of the Opera devotee in every form it takes, I was genuinely delighted to see BrightSide Theatre tackling Phantom in Concert. As the title promises, this version reimagines Gaston Leroux’s classic novel as a sweeping musical experience.

With actors reading from scripts accompanied by a full orchestra, Maury Yeston & Arthur Kopit’s Phantom in Concert reframes the tale as a lush, emotional melodrama centered on Eric, a brilliant but disfigured musical genius who lives beneath the Paris Opera House. In contrast to Andrew Lloyd Webber’s darker, gothic interpretation, this musical leans into Eric’s tragic origins, his yearning for genuine affection, and the profound musical bond he shares with Christine - the voice that has captured his heart completely.

Despite living in the shadow of Lloyd Webber’s megahit, the Yeston–Kopit Phantom has enjoyed more than a thousand productions worldwide and earned a devoted following for its sweeping score and heartfelt storytelling. Signature numbers such as “Without Your Music,” “Home,” “My True Love,” and “This Place Is Mine” are often cited among Yeston’s finest compositions.

In this telling, Eric - the Phantom - haunts the catacombs beneath the Paris Opera, a reclusive genius consumed by music and beauty. When he discovers Christine, a gifted young soprano, he becomes her unseen mentor, shaping her talent from the shadows. Turmoil erupts when longtime manager Gerard is dismissed and replaced by the imperious diva Carlotta and her husband, Cholet – the new owners of the theater. Driven by jealousy, Carlotta deliberately ruins Christine’s voice, Eric retaliates, sending the Opera into panic and prompting a relentless police pursuit. Eric’s fury ripples through the opera house like a living thing. What begins as confusion quickly curdles into fear, the company realizing that someone with both brilliance and rage is pulling the strings. All of it builds toward that moment when the truth about Gerard comes crashing in, reframing the chaos not just as vengeance, but as the desperate thrashing of a man who has been wounded far deeper than anyone understood. Gerard’s secret casts a long, quiet shadow over those final moments, turning them into something more intimate - a reckoning shaped as much by vulnerability as by the haunting beauty of Eric’s music.

Under the finely tuned direction of Artistic Director Jeffery Cass, Phantom unfolds with a sense of fluidity and imagination. Cass uses the entire venue as his canvas, sending cast members weaving through the seating area so the story seems to breathe around the audience rather than simply play out in front of them. It’s an approach that keeps the energy alive and the tension palpable.

Leading the production is Caden Cole, ideally cast as The Phantom/Eric, the enigmatic and tormented musical prodigy. He brings a striking blend of vulnerability and command to the role, and his vocal power is undeniable - soaring in the big moments, simmering in the quieter ones, and always grounded in emotional truth. Cole doesn’t just sing the Phantom; he inhabits him, giving the production its beating heart. Emily Lewis meets Cole’s fire with equal force, matching his intensity note for note in the role of Christine. She brings a luminous clarity to the character - wide‑eyed innocence layered with a growing emotional strength - and her voice carries both the sweetness and steel the role demands. Lewis’s chemistry with Cole heightens every duet, creating a dynamic that feels electric from the moment they share the stage.

Julie Ann Kornak commands the stage with a lavish, full-throttle diva presence that renders her Carlotta utterly unmissable. Each line and note - and every sly, well‑placed comic nuance - lands with the assurance of a performer who knows the spotlight belongs to her the moment she steps into it. She balances grandeur with just the right touch of comedic sparkle, turning Carlotta into a character who is not only vocally formidable but irresistibly fun to watch. Phillipe - Christine’s steadfast admirer and emotional counterweight to the Phantom - is brought to life with admirable warmth by Joe Moerschel. He plays the role with an earnest sincerity that grounds the love triangle, offering a gentler, more human alternative to the Phantom’s tortured brilliance.

The production is further elevated by standout supporting work. Among other outstanding players, Stan Austin delivers a crisp, comedic take on Cholet, cutting through the surrounding chaos with razor‑sharp timing, while Michael Rivera brings a grounded, steady warmth to Gerard, his voice blooming with striking clarity and power, especially throughout the second act. Phantom in Concert is bolstered by a remarkably cohesive ensemble whose vocal strength and fluid movement enrich every scene. This is a company that works in true harmony, elevating the production at every turn.

BrightSide’s Phantom in Concert emerges as a genuine musical‑theatre treasure, the kind of production that reminds you why this story endures. It marries lush orchestration, expressive performances, and a palpable sense of passion into an experience that feels both intimate and grand. This is the sort of evening that rewards longtime fans and newcomers alike, making it not just worth seeing, but worth savoring.

Phantom in Concert is being performed on a limited run from January 9^th-18^th. For tickets and/or more show information, visit https://brightsidetheatre.com/.

Under the deft direction of American Blues Theater’s Executive Artistic Director Gwendolyn Whiteside, Frank Capra’s beloved holiday classic It’s a Wonderful Life is reborn as a charming 1940s radio broadcast. With vintage microphones, live foley effects, and a versatile ensemble shifting seamlessly between characters, the production becomes more than a retelling - it’s a joyous homage to the art of storytelling itself. Audiences are invited to step back into the golden age of radio, where imagination takes center stage and George Bailey’s timeless journey resonates anew.

In Bedford Falls, George Bailey devotes his life to helping others, setting aside his own dreams for the good of his community. But when financial disaster strikes on Christmas Eve, he begins to doubt his worth. Enter Clarence, a guardian angel, who reveals a chilling vision of a world without George - a town consumed by Mr. Potter’s greed and stripped of hope. Confronted with the profound impact of his generosity, George rediscovers the value of his life. As his neighbors rally to support him, he learns that true wealth lies not in money, but in friendship, love, and the lives he’s touched.

By casting the audience as “studio listeners,” the production erases the boundary between stage and spectator. Foley effects—the slam of doors, the crunch of snow—lend a tactile realism that cinema rarely achieves. The ensemble’s deft shifts in voice and character populate Bedford Falls with remarkable clarity, their energy carrying the narrative even through George’s darkest moments. The touchstones are all here: George’s sacrifices, Potter’s greed, Clarence’s intervention, and the jubilant finale of community over isolation. In radio-play form, these familiar beats gain fresh resonance, reminding us that sound and imagination can be more powerful than spectacle.

The ensemble of It’s a Wonderful Life: Live in Chicago! shines with warmth, artistry, and undeniable chemistry, breathing vibrant new life into this holiday treasure. At the heart of the production, Brandon Dahlquist embodies George Bailey with a sincerity that feels both timeless and immediate. His performance is layered with emotional depth - capturing the optimism of youthful dreams, the weight of sacrifice, and the aching vulnerability of despair. Dahlquist’s portrayal is not only heartfelt but profoundly inspiring, reminding us why George Bailey remains one of the most enduring figures in American storytelling. With every gesture and inflection, he draws the audience into Bailey’s journey, making the character’s triumphs and struggles resonate as if they were our own. It is a performance that anchors the show with humanity and elevates it with grace.

Equally compelling is Ian Paul Custer, who delivers a masterful dual turn that showcases both his range and precision. As Clarence, he radiates warmth and gentle humor, embodying the guardian angel with a tender humanity that uplifts the story and offers moments of levity. In stark contrast, his portrayal of Mr. Potter is steeped in chilling authority - a ruthless presence whose greed and menace cast a long shadow over Bedford Falls. The seamless transition between these two extremes underscores not only Custer’s remarkable skill but also the production’s emotional contrasts, reminding us that the heart of It’s a Wonderful Life lies in the tension between compassion and cruelty, hope and despair.

Justin Banks infuses Harry with an effortless charm, while Audrey Billings embodies Mary Bailey with a luminous blend of grace, resilience, and radiant warmth. Her presence anchors every scene, offering both steadiness and emotional depth as she navigates the joys and hardships of George’s journey. Manny Buckley lends Joseph a dignified gravitas, and Dara Cameron sparkles as Violet, bringing wit, vivacity, and a touch of glamour to Bedford Falls. Michael Mahler elevates the atmosphere as the charismatic Announcer, while his live piano accompaniment bathes the production in nostalgic glow, perfectly evoking the golden age of radio.

Rounding out the ensemble, J.G. Smith delivers a dazzling performance as the Foley artist, transforming everyday objects into extraordinary tools of imagination. With impeccable timing and inventive flair, Smith crafts the soundscape that breathes life into Bedford Falls - snow crunching underfoot, doors creaking open, coins clinking, and bells ringing with holiday cheer. Each effect is not merely background noise but a vital layer of storytelling, immersing audiences so completely that George Bailey’s world feels tangible and immediate. Smith’s artistry underscores the magic of live radio theater, reminding us that sound alone can transport us across time, space, and emotion. It’s a masterclass in creativity and precision, and his contribution ensures the production resonates with authenticity and wonder.

Together, this gifted ensemble weaves storytelling, music, and imagination into a seamless tapestry - proving that collaboration, heart, and craft are what make this production truly wonderful.

The magic begins even before the curtain rises. Arrive early and you’ll be treated to a lively pre-show experience, where the stage comes alive with playful antics, warm laughter, and spirited music. Cast members set the tone with a burst of energy that instantly draws the audience into the festive spirit. It’s more than a warm-up - it’s an invitation to step into the world of Bedford Falls with joy already in the air. By the time the official performance begins, you’ll feel like part of the celebration, swept up in the camaraderie and holiday cheer.

For close to 25 years, American Blues Theater has brought Frank Capra’s classic to life in the form of a 1940s radio broadcast. It’s a Wonderful Life: Live in Chicago! has earned its place as the second longest-running holiday production in the city.

American Blues Theater has discovered a beautiful new permanent home just west of Andersonville. The venue strikes the perfect balance - intimate yet expansive - with seating that is both comfortable and generously spaced. Fully ADA accessible and thoughtfully designed, the theater even offers the convenience of its own dedicated parking lot right beside the building. The parking is easy and the theater offers free spots for disabled patrons.

Recommended!

It’s a Wonderful Life: Live in Chicago! is being performed at American Blues Theater through December 28^th. For tickets and/or more show information, visit https://americanbluestheater.com/2025-its-a-wonderful-life-live-in-chicago/.

Paramount Theatre’s White Christmas unfolds like a living snow globe - bursting with holiday sparkle, sweeping dance numbers, and the timeless melodies of Irving Berlin. From the first notes to the final snowfall, the production wraps audiences in a nostalgic embrace, blending old-fashioned charm with Broadway-sized spectacle. Each scene glitters with warmth and wit, inviting theatergoers to laugh, swoon, and hum along as romance blossoms and friendships deepen against a backdrop of wintry wonder. By curtain call, the joy is infectious - sending audiences out into the night with hearts lightened, spirits lifted and smiles as bright as the marquee.

Paramount Theatre’s White Christmas sparkles like a holiday jewel box - both warmly intimate and magnificently grand. The theater’s historic stage transforms into a canvas of sweeping spectacle with majestic sets, while the lush resonance of a full orchestra directed by Korey Danielson gives Berlin’s timeless score a cinematic glow.

White Christmas tells the story of army buddies Bob Wallace and Phil Davis, who, after serving in World War II, reinvent themselves as a wildly successful song-and-dance duo. Their path crosses with the enchanting Haynes sisters, Betty and Judy, sparking a mix of romance, comedy, and showbiz sparkle. The foursome’s journey leads them to a cozy Vermont inn, only to discover it’s owned by their former commanding officer, General Waverly, now facing financial hardship. With loyalty and holiday spirit driving them, Bob and Phil rally their entertainment world connections to mount a spectacular Christmas show - one that not only saves the inn but restores the General’s faith in community and camaraderie. The tale blends laughter, love, and nostalgia, culminating in a finale where snow drifts from above and Irving Berlin’s “White Christmas” envelops the theater in timeless magic.

Phil Davis (Evan C. Dolan, left) and Judy Haynes (Jessie J. Potter, right) tap dance atop a piano, surrounded by fellow talented ensemble hoofers, in the popular tap number “I Love a Piano” in Irving Berlin’s White Christmas. Nostalgia, pageantry and spectacle come to life in Paramount Theatre’s 14th Broadway Series holiday season blockbuster. Stephen Schellhardt directs.

At the heart of the production, Alex Syiek embodies Bob Wallace with a commanding gravitas that instantly draws every eye to him. His stage presence is nothing short of magnetic - effortlessly blending charm, authority, and vulnerability in a way that makes the character pulse with life. When he launches into “How Deep is the Ocean,” the moment transcends performance and becomes pure artistry: his voice, rich and resonant, soars across the theater, wrapping the audience in waves of emotion. Each note seems to shimmer with sincerity, sending goosebumps rippling through the crowd and holding them in rapt silence. Syiek crafts an experience, a breathtaking highlight that lingers long after the curtain falls.

Evan C. Dolan and Jessie J. Potter electrify the evening as Phil Davis and Judy Haynes with tap-driven brilliance in “I Love a Piano,” their infectious energy matched by glowing precision. Sophie Grimm as Betty Haynes weaves glamour and wit into every scene, balancing romance with sharp comedic sparkle. Grimm’s voice flows with velvety smoothness, matched by a striking blend of power and precision. And grounding the story with gravitas is David Girolmo’s General Waverly, whose gruff exterior masks a deep well of tenderness, reminding us that the season’s true gifts are selflessness, community, and enduring bonds. Together, this ensemble stitches a holiday tapestry that flashes with spectacle yet pulses with heart - an experience as joyous as it is unforgettable.

Abby C. Smith also shines brilliantly as Martha Watson, the inn’s warm-hearted concierge, infusing the role with wit, vitality, and irresistible charm. She commands the stage with a natural ease, and when given the chance to unleash her powerhouse vocals in “Let Me Sing and Be Happy,” the theater practically vibrates with joy. Her voice radiates strength and exuberance, turning the number into a jubilant showstopper that leaves the audience grinning and applauding with unrestrained delight.

Beyond its iconic title tune, White Christmas offers a treasure trove of Irving Berlin gems that keep audiences humming long after the curtain falls. “Blue Skies” bursts with optimism and ensemble flair, while “Sisters” delights with playful charm and comic timing. “Count Your Blessings Instead of Sheep” slows the pace with tender intimacy, reminding us of the quiet joys of gratitude, and Alex Syiek’s soaring “How Deep is the Ocean” delivers a moment of pure vocal power that ripples through the house. The show’s choreography shines brightest in its showstoppers: “Snow” sparkles with ensemble energy and frosty whimsy, while “I Love a Piano” erupts into tap-driven brilliance, its infectious rhythm impossible to resist. And of course, the finale - Berlin’s timeless “White Christmas” - arrives like a gift, wrapping the evening in nostalgia and emotional payoff as snow drifts from above. More than a holiday musical, Paramount’s White Christmas is a glittering celebration of romance, comedy, and community spirit, stitched together with dazzling choreography and songs that linger like cherished memories of the season.

(Center L-R) Evan C. Dolan, Jessie J. Potter, Alex Syiek and Sophie Grimm with cast in White Christmas at Paramount Theatre through January 11th.

Tiffany Krause’s choreography in this production of White Christmas is simply breathtaking. This ensemble doesn’t just sing - they ignite the stage with dance that radiates brilliance and energy. From sharp, exhilarating tap sequences to sweeping partner and swing routines, the performers elevate the show to dazzling new heights. The number “Everything Good Happens When You’re Dancing” embodies the very spirit of the production, showing how romance flourishes and multiplies through the cast’s sheer joy, elegance, and remarkable artistry.

A timeless holiday favorite, White Christmas weaves together romance, comedy, and twinkling song-and-dance spectacle as two veterans-turned-entertainers join forces with a captivating sister act. Their journey to a snow-dusted Vermont inn blossoms into a story of love, laughter, and loyalty, culminating in a heartfelt mission to save their former general’s struggling lodge. Along the way, Irving Berlin’s melodies and dazzling choreography transform the stage into a celebration of community, generosity, and the enduring magic of the season.

Recommended for big holiday fun!

White Christmas is being performed at Paramount Theatre through January 11^th. For tickets and/or more information, visit https://paramountaurora.com/events/irving-berlins-white-christmas/.

Goodman Theatre’s 2025 production of A Christmas Carol delivers a reimagined yet reverently faithful vision of Charles Dickens’ enduring holiday masterpiece. Directed by BOLD Artistic Producer Malkia Stampley, the staging infuses fresh energy into the familiar tale, striking a delicate balance between honoring tradition and embracing innovation.

Charles Dickens’ A Christmas Carol follows Ebenezer Scrooge, a cold-hearted miser who scorns Christmas and human kindness. On Christmas Eve, he is confronted by the ghost of his former partner, Jacob Marley, and guided by three spectral visitors - the Ghosts of Christmas Past, Present, and Yet to Come. Their haunting revelations force Scrooge to witness his own failings, the hardships of others, and the bleak destiny awaiting him. Awakened to the power of compassion and generosity, he greets Christmas morning as a transformed man - joyful, benevolent, and fully embracing the spirit of the season.

At the center of this transformation is Christopher Donahue, returning to the role of Ebenezer Scrooge with a performance that brims with nuance. Donahue embodies the character’s frosty detachment and biting cynicism with precision, while gradually revealing the vulnerability and humanity that make Scrooge’s redemption so powerful. His portrayal anchors the production, ensuring that audiences experience not only the spectacle of Dickens’ ghosts and festive scenes, but also the emotional depth of one man’s journey from isolation to generosity.

Surrounding him is an ensemble that blends the wisdom of seasoned Goodman veterans with the energy of exciting newcomers, forging a dynamic interplay that keeps the production alive and ever-evolving. Their chemistry, paired with imaginative staging and subtle special effects, ensures that longtime patrons experience the story anew while first-time audiences are swept into its magic.

Beyond the performances, the production dazzles with fresh choreography, inventive musical direction, revitalized design elements and special effects that elevate the performance. The stage becomes a canvas of contrasts: the eerie, otherworldly visitations of Marley and the Ghosts unfold with haunting theatricality, while the warmth and intimacy of the Cratchit household radiate joy and tenderness.

Every moment is meticulously layered with detail, reminding us that Dickens’ tale is more than a seasonal tradition—it is a living parable of generosity, compassion, and the enduring bonds of community.

(L-R) Jon Hudson Odom, Ella Boparai, Carmelo Kelly, Viva Boresi, Bethany Thomas, A’mia Imani, Henry Lombardo, Sól Fuller and Helen Joo Lee.

For close to fifty years, Goodman Theatre’s A Christmas Carol has stood as a defining ritual of Chicago’s holiday season—a theatrical gathering place where generations of families, friends, and theatergoers return year after year. More than just a retelling of Dickens’ classic, the production has become a civic tradition, woven into the fabric of the city’s winter celebrations.

This year’s staging carries that legacy forward with renewed vitality, reminding audiences why the story continues to resonate across centuries. At its core, A Christmas Carol is not simply the tale of Ebenezer Scrooge’s redemption; it is a parable about the power of empathy, generosity, and human connection. Goodman’s production magnifies those themes by transforming the theatre itself into a communal space - where laughter, music, and the haunting presence of Dickens’ ghosts converge to awaken the spirit of compassion.

The endurance of this holiday cornerstone lies in its dual nature: it is both deeply personal, charting one man’s journey from isolation to belonging, and profoundly collective, celebrating the bonds that unite a community. Each performance becomes a reminder that the true gift of the season is not material wealth, but the shared warmth of kindness and fellowship.

The cast assembled for Goodman Theatre’s A Christmas Carol is nothing short of outstanding. Christopher Donahue, stepping into the role of Ebenezer Scrooge after Larry Yando’s celebrated tenure, delivers a performance that is both commanding and deeply human. His portrayal captures the character’s sharp edges and biting cynicism, yet gradually reveals the warmth and vulnerability that make Scrooge’s transformation so moving - you can’t help but be won over by him. Donahue was nothing short of electrifying, also bringing a masterful sense of graceful physical comedy to the role. He embodied the rakish, childlike exuberance and sheer JOY that floods Scrooge when he discovers it’s not too late to transform his life.

One of the evening’s biggest laughs came as Donahue realized that only a single night had passed with the spirits—despite their showing him years of missteps and warning that he must change his ways immediately or face a hated death and generations of sorrow. The audience roared, and I’ve never heard such sustained laughter in this production before. It was pure delight.

Ella Boparai brings a radiant charm to Tiny Tim, embodying the innocence and hope that anchor the story’s emotional core. The ensemble as a whole is vibrant and cohesive, each member contributing to the production’s energy and richness.

Among the spirits, Bethany Thomas shines with grandeur and generosity as the Ghost of Christmas Present, while Daniel José Molina delivers a chilling, spectral presence as the Ghost of Christmas Future. Lucky Stiff rounds out the trio with a compelling and evocative Ghost of Christmas Past, guiding Scrooge through memories with both tenderness and gravity.

 (L-R) Christopher Donahue and Daniel José Molina.

Jon Hudson Odom brings remarkable depth to Bob Cratchit, embodying Dickens’ humble clerk with a warmth and sincerity that make him the beating heart of the production. His performance captures Cratchit’s quiet resilience and steadfast kindness, elevating the role from supporting character to emotional cornerstone. Odom’s nuanced portrayal balances gentle humor with the weight of hardship, reflecting the struggles of working families while never losing sight of Cratchit’s unwavering optimism.

In scenes with the Cratchit family, Odom radiates tenderness and devotion, particularly in his interactions with Tiny Tim. The father-son bond he conveys is both poignant and inspiring, a reminder of the fragile yet enduring hope that sustains the family through adversity. His presence underscores the stark contrast between Scrooge’s cold isolation and the Cratchits’ warmth, amplifying the play’s central themes of compassion, perseverance, and the transformative power of love.

Together, this company breathes fresh life into Dickens’ timeless tale, ensuring that every scene resonates with theatrical magic and emotional depth.

I wholeheartedly encourage audiences to experience this beloved Goodman holiday tradition - an annual production that never fails to capture the true spirit of the season. For anyone eager to embrace the warmth, wonder, and festive magic of Christmastime, A Christmas Carol at Goodman Theatre is the perfect way to step into the holiday “spirit.”

A Christmas Carol is being performed at Goodman Theatre through December 31^st. For tickets and/or more show information, visit https://www.goodmantheatre.org/show/a-christmas-carol/.

Million Dollar Quartet Christmas brings the legends back together - Elvis Presley, Johnny Cash, Jerry Lee Lewis, and Carl Perkins - for a high-energy holiday jam at Sun Records in Memphis, Tennessee. Packed with rock 'n' roll hits and festive favorites, this jukebox musical delivers a nostalgic blast of seasonal cheer. Now staged in the round at Marriott Theatre, it’s a toe-tapping celebration you won’t want to miss.

This thrilling holiday musical whisks audiences back to December 4, 1956, inside Memphis’s iconic Sun Records studio, where the birth of rock ‘n’ roll gets a festive twist. Framed as a lively holiday reunion of Elvis Presley, Johnny Cash, Jerry Lee Lewis, and Carl Perkins, the show plays like a jukebox time capsule - glittering with tinsel, rhythm, and seasonal joy. The studio glows with holiday charm - garlands strung, mistletoe dangling, and a decorated tree tucked in the corner - as four rock ‘n’ roll legends reunite to trade stories, revisit Christmases past, and muse about the road ahead. Their banter is light, their bond electric with nostalgia, and every song reverberates with the unfiltered energy of icons at the height of their powers.

Framed as a rockin’ ride through Christmas past, present, and future, the show fuses tender reflections with turbo-charged takes on holiday favorites and golden-age rock hits. Each legend infuses the stage with their signature sound, transforming timeless tunes into pulse-pounding celebrations of the season - and the rebellious heart of rock ‘n’ roll.

Million Dollar Quartet Christmas at Marriott Theatre ignites the stage with a high-voltage blend of rock ‘n’ roll swagger and holiday spirit. Elvis Presley, Johnny Cash, Jerry Lee Lewis, and Carl Perkins deliver powerhouse performances that showcase their iconic styles while wrapping the season in nostalgic charm. Alongside the show’s signature hits, audiences are treated to festive favorites like “Blue Christmas,” “Santa Claus Is Back in Town,” “Boogie Woogie Santa Claus,” “Run, Rudolph, Run,” “God Rest Ye Merry Gentlemen,” and a rollicking mashup of “Rockin’ Around the Christmas Tree” and “Jingle Bell Rock.”

This cast doesn’t just shine - they explode off the stage. Million Dollar Quartet Christmas blazes to life with a powerhouse ensemble that doesn’t imitate rock ‘n’ roll royalty—they channel them. With razor-sharp musicianship, magnetic charisma, and a sleigh-load of seasonal swagger, these performers ignite a musical storm that’s both heartwarming and high-octane. It’s not just a performance - it’s a full-blown holiday revival of rhythm, soul, and rock ‘n’ roll cheer.

Let’s raise the curtain on this extraordinary cast - each performer a vital spark in the blazing brilliance of Million Dollar Quartet Christmas.

JP Coletta plays Jerry Lee Lewis and detonates onto the stage with a performance that’s equally volcanic and virtuosic. From the moment his fingers hit the keys, it’s clear we’re in for a wild ride: he attacks the piano with manic glee and devilish precision, channeling the raw, unfiltered spirit of rock’s original wild child. Every note ricochets with rebellion, every flourish drips with swagger, and every sideways grin feels like a wink to chaos itself. Coletta’s portrayal is a masterclass in musical mayhem - blistering, magnetic, and utterly irresistible. By the end, the piano’s smoking, the audience is beaming, and the ghost of Jerry Lee is surely somewhere backstage, grinning in approval.

As Carl Perkins, Trevor Lindley Craft brings a cool, soulful swagger, anchoring the show with crisp guitar licks and vocals laced with rockabilly grit. He’s the ensemble’s steady heartbeat - cutting through the chaos with finesse, style, and a quiet confidence that keeps the rhythm grounded. Whether trading riffs or harmonizing with the quartet, Craft exudes the kind of understated charisma that lets the music speak volumes.

Michael D. Potter steps into Johnny Cash’s boots with quiet power and commanding presence. His voice rolls in low and steady, like distant thunder on a Tennessee night, and his portrayal hums with authenticity. Potter doesn’t overplay the legend - he funnels him, letting the stillness between notes carry as much weight as the music itself. Stoic yet stirring, he draws the audience in with a magnetic gravity that feels both timeless and true.

Colton Sims doesn’t just impersonate Elvis Presley - he inhabits him with velvet vocals and hip-shaking bravado along with a gaze that could melt vinyl. From his first entrance, Sims radiates the kind of stage command that made Elvis a cultural phenomenon. His voice smolders, his movements sizzle, and his charisma is pure dynamite. It’s a performance that balances swagger with sincerity, capturing the King in all his electrifying glory.

As Elvis’ girlfriend Dyanne, Teah Kiang Mirabelli is a revelation. She infuses the stage with elegance, wit, and vocal brilliance, elevating every scene she’s in. More than just a supporting role, Mirabelli brings emotional depth and radiant charm, offering a counterpoint to the testosterone-fueled jam session. Her solos soar with precision and passion, and her presence adds a layer of warmth and complexity that rounds out the show’s dynamic pulse. Mirabelli is especially adorable during her cute, mandolin-playing Hawaiian themed number “Mele Kalikimaka”.

Ross Griffin grounds the show with quiet intensity as Sam Phillips, the visionary behind the music and the man holding the emotional reins. His performance is taut, urgent, and deeply human - a portrait of ambition, loyalty, and the weight of legacy. Griffin narrates the story; he lives in its tension, embodying a producer torn between past glories and future dreams.

Rounding out the ensemble with flair and finesse are Jed Feder as Fluke and Cody Siragusa as Brother Jay. With razor-sharp timing, rhythmic fire, and a dash of comic mischief, they keep the backbeat tight and the energy sky-high. Whether laying down grooves or landing punchlines, they’re the unsung heroes who make the whole jam session sing.

Together, this cast absolutely ignites. Every note, every gesture, every glance is charged with passion, precision, and holiday joy. It’s a Christmas musical miracle wrapped in tinsel and rock 'n' roll. The actors’ live musical performances - executed with impressive skill - infuse the production with an electrifying energy. With guitars in hand, a stand-up bass thumping, and drums driving the rhythm, the stage often pulses with the raw excitement of a live concert.

Under the spirited direction of Scott Weinstein, this holiday edition of Million Dollar Quartet strikes a joyful chord between festive fun and nostalgic reverence. Weinstein orchestrates the production with a keen sense of pacing and emotional texture, allowing the show to glide effortlessly from quiet, intimate moments to full-throttle rock ’n’ roll revelry. Whether it’s a tender ballad shared under the glow of Christmas lights or a raucous jam session that rattles the rafters, each scene is staged with precision, heart, and a wink of holiday mischief. The result is a dynamic, feel-good celebration that honors the legends of Sun Records while wrapping the audience in the warm glow of seasonal spirit.

Before the curtain rises, treat yourself to a festive feast at Embers Christmas Grille, the seasonal pop-up nestled inside the Lincolnshire Marriott Resort - just steps from the theater. Offered Wednesday through Friday, this holiday dining experience features a three-course prix fixe menu for $49 per person, served with a generous helping of cheer. Each dish is playfully named and thoughtfully crafted, blending seasonal inspiration with upscale comfort. With options spanning beef, chicken, and fish, the menu offers a whimsical twist on traditional holiday fare - perfect for theatergoers looking to savor the spirit of the season in style.

Million Dollar Quartet Christmas is holiday fun at its fullest.

Highly recommended.

For tickets and/or more show information, visit https://www.marriotttheatre.com/show/million-dollar-quartet-christmas.  

If you’ve ever wondered what would happen if a glam-rock concert, a sci-fi B-movie, and a drag ball collided in a castle during a thunderstorm—The Rocky Horror Show Live has your answer, and it’s wearing fishnets.

The Rocky Horror Show Live is a glitter-drenched, gender-bending, sci-fi rock ‘n’ roll romp that turns theater into a wild party. Expect corsets, chaos, and a whole lot of “Time Warp” madness. This madness has now made its way to Naperville – Brightside Theatre to be exact.

When prim-and-proper sweethearts Brad Majors and Janet Weiss find themselves stranded in a thunderstorm, their search for shelter leads them to a looming, otherworldly mansion - a castle pulsing with secrets, sequins, and scandal. What begins as a pit stop quickly spirals into a surreal plunge down the rabbit hole of desire, decadence, and intergalactic mischief.

Inside, they meet the castle’s master of ceremonies: Dr. Frank-N-Furter, a gloriously flamboyant, corset-clad scientist who struts with the swagger of a rock god and the flair of a cabaret queen. Hailing from the distant planet of Transsexual in the galaxy of Transylvania, Frank is in the midst of unveiling his latest experiment - a living, breathing Adonis named Rocky, sculpted from muscle, myth, and pure libido. With golden locks and glistening abs, Rocky is less Frankenstein’s monster and more a pin-up fantasy brought to life.

As Brad and Janet’s innocence begins to unravel, the castle transforms into a playground of provocative floor shows, alien revelations, and boundary-blurring seductions. The air crackles with glam-rock anthems, pelvic thrusts, and a deliciously campy celebration of everything taboo. Gender norms are tossed aside, sexuality is fluid and fearless, and the audience is swept along in a glitter-drenched whirlwind of liberation and lunacy.

It’s not just a descent - it’s a transformation. What starts as a dark and stormy night becomes a kaleidoscopic journey into the heart of pleasure, identity, and unapologetic self-expression. And by the time the curtain falls, Brad and Janet - and everyone watching - are forever changed.

From left to right Frank-n-Furter (John McNally), Brad (Michael Lynch) and Janet (Brooke Kassal).

Brightside delivers a dazzling revival of this cult classic, transforming the stage into a riotous playground of glam, grit, and glorious excess. With a knockout cast and inventive use of props, the production doesn’t just invite the audience into Dr. Frank-N-Furter’s castle - it plunges them headfirst into its glittering heart, where every velvet curtain and pelvic thrust feels like an invitation to mischief.

John McNally is an absolute revelation as Dr. Frank-N-Furter, commanding the stage with a magnetic blend of sensuality, sway, and razor-sharp wit. From the moment he slinks into view, clad in fishnets and attitude, McNally’s presence is undeniable - he doesn’t just enter the scene, he devours it. His performance pulses with a deliciously understated sexiness, balanced by theatrical bravado and a knowing wink that keeps the audience hanging on every gesture. Whether crooning through “Sweet Transvestite” or orchestrating the castle’s chaos, McNally delivers a masterclass in camp charisma.

Brooke Kassall lights up the stage as Janet Weiss, infusing the role with vocal brilliance and comedic precision. Her transformation from wide-eyed ingénue to liberated vixen is a joy to watch, and she navigates the character’s emotional arc with both heart and hilarity. Kassall’s timing is impeccable, her voice crystalline, and her physicality sharp.

Michael Lynch, as Brad Majors, is pitch-perfect in his portrayal of the uptight, earnest fiancé caught in a whirlwind of glitter and temptation. Lynch leans into the camp with gusto, delivering his lines with just the right mix of sincerity and absurdity. His vocal moments land with strength and clarity, and his chemistry with Kassall adds a layer of authenticity to the madness unfolding around them.

Together, this trio anchors the production with energy, nuance, and a confident embrace of the show’s outrageous spirit.

Scott Kelley delivers a pitch-perfect performance as the Narrator, wielding deadpan delivery like a scalpel and slicing through the chaos with dry wit and subtle nuance. His timing is impeccable, his tone delightfully sardonic, and his ability to anchor the madness with a raised eyebrow or a well-placed pause makes him the ideal guide through this glitter-drenched fever dream. Kelley doesn’t just narrate—he punctuates the production with comedic finesse, offering a steady stream of meta-humor that keeps the audience both grounded and giggling.

One of the most inspired casting choices in the show is Mary Grace Martens in the dual roles of Eddie and Dr. Scott - a double act that showcases her range, charisma, and comic chops. As Eddie, Martens bursts onto the scene like a rock ‘n’ roll cannonball, delivering a hilariously unhinged performance that’s equal parts punk energy and vaudevillian flair. Her physicality, vocal grit, and sheer commitment to the chaos make Eddie’s brief but explosive appearance unforgettable.

Then, in a brilliant pivot, Martens reemerges as Dr. Scott, trading leather and rebellion for tweed and gravitas. Her portrayal is spot-on, capturing the character’s stiff demeanor and scientific earnestness while still mining the role for laughs. The contrast between the two characters is a testament to Martens’ versatility - she doesn’t just play two roles, she inhabits two worlds, and does so with style, precision, and a wink to the audience.

When opportunity came knocking, Charlie Kungl didn’t just answer - he flung the castle doors wide open and stormed the stage with a performance that was nothing short of electrifying. Originally cast as one of the Phantoms, Kungl stepped into the role of Riff Raff with fearless precision, filling in for Thomas McMahon and transforming the castle’s creepy handyman into a scene-stealing force of nature. From the moment he slithered into view, Kungl embodied Riff Raff’s eerie elegance and twitchy menace with uncanny style, layering in just the right amount of weirdness, wit, and vocal prowess.

His performance in “Over at the Frankenstein Place” was hauntingly beautiful, and his contributions to “Time Warp” were delivered with such gusto and vocal strength that the audience couldn’t help but be swept into the madness. Kungl delivered one of the most memorable turns of the night.

Playing opposite Riff Raff as the sultry and sardonic Magenta is Michelle Bolliger. Bolliger brings a sly humor and smoky vocal tone to the role, delivering her lines with a delicious blend of deadpan and mischief. Her chemistry with Kungl added a layer of twisted charm to the castle’s eerie ambiance, and her vocal work - especially in ensemble numbers - was smooth, confident, and richly textured.

From left to right Eddie (Mary Grace Martens), Frank-n-Furter (John McNally) and Columbia (Collette Michelle).

Ben Chalex delivers a standout turn as Rocky Horror, infusing Frank-N-Furter’s golden-haired creation with a magnetic blend of innocence, physicality, and comic ability. From his shimmering entrance in gold lamé to his wide-eyed reactions and expressive vocals—especially in “The Sword of Damocles”—Chalex elevates Rocky beyond caricature. He brings surprising emotional depth and impeccable timing, making Rocky not just a lab-grown fantasy, but a breakout presence bursting with kinetic charm and comedic gold.

Rounding out the cast with flair is Collette Michelle, who shines as Columbia with a vibrant mix of vocal prowess and comedic sparkle. Her performance surges with energy, capturing Columbia’s manic charm and showgirl sass to perfection. Michelle even delivers a crisp, crowd-pleasing tap routine that seals the deal—she’s a triple threat with glitter to spare.

The ensemble of Phantoms brought a vibrant pulse to the production, serving as Frank-N-Furter’s pleasingly twisted entourage with flair and finesse. These talented performers didn’t just dance - they slinked, strutted, and seduced their way across the expansive three-quarter thrust stage, turning every corner into a playground of provocative movement – including the aisles. Their presence added texture and tension, amplifying the castle’s decadent atmosphere and ensuring that Frank’s every whim was met with theatrical devotion and dazzling spectacle.

Under the sharp direction of Jeffrey Cass and the spirited musical guidance of Phil Videckis, The Rocky Horror Show Live at Brightside Theatre explodes with vigor, irreverence, and irresistible charm. This production doesn’t just break the fourth wall - it invites the audience to dance through it, shout back at it, and throw Scott’s toilet paper at it. With highly encouraged audience participation that leaps at every campy cue and innuendo, the show becomes a shared spectacle of chaos and delight. It’s a glitter-drenched, fishnet-clad thrill ride that’s tailor-made for the Halloween season - and absolutely unmissable for fans of theatrical mischief.

Highly Recommended.

The Rocky Horror Show Live is being preformed at Theater at Meilly-Swallow Hall through November 9^th. For tickets and/or more show information, visit https://brightsidetheatre.com/the-rocky-horror-show/. 

Elizabeth McGovern’s embodiment of Ava Gardner in Ava: The Secret Conversations, now playing at the Studebaker Theater inside Chicago’s storied Fine Arts Building, is a riveting study in fragility, fire, and fierce self-preservation. Written by McGovern herself, the play peels back the layers of Gardner’s tumultuous life and career beginning with the tale of her debilitating stroke - when the spotlight had dimmed but her spirit refused to flicker out. 

McGovern opens the play with a moment of unexpected intimacy: she tells her ghostwriter about a day in the park when she and her girlfriend—both dealing with mobility issues in their late fifties—fell and found themselves laughing uncontrollably, unable to get up but utterly delighted by the absurdity of it. It’s a scene rich with vulnerability and joy, but her ghostwriter dismisses it as dull and bleak, insisting that audiences crave the glitz and scandal—her marriages with Frank Sinatra and Mickey Rooney, the dark chapters with Howard Hughes, the abuse, the abortions. Those stories do surface later, rendered with cinematic flair through a series of stylized video projections across the stage, but it’s that quiet, human moment that sets the emotional tone.

Rather than channeling the iconic bombshell of The Killers or Mogambo, McGovern inhabits Gardner as a woman in her sixties: physically impaired, emotionally raw, and intellectually unrelenting. She’s not chasing nostalgia - she’s clawing back control and as she states clearly - she needs the money!  

The play’s narrative draws from Peter Evans’ posthumously published book, Ava Gardner: The Secret Conversations, which documents Gardner’s attempt to enlist Evans as her ghostwriter. Their dynamic - equal parts seductive, combative, and tragically entangled - drives the drama, revealing a star who’s no longer performing, but finally speaking.

McGovern’s Ava is a woman marked by the aftermath of a stroke - her movements are slower, her speech thickened, and her patience often frayed. Yet pity never enters the room. What McGovern delivers is not a portrait of decline, but of defiant survival. She taps into Gardner’s acerbic humor, lingering sensuality, and aching remorse with a candor that borders on confession. The voice, though physically changed, becomes a sharpened tool: gravelly, intentional, and edged with irony. It’s not the voice of a fading star—it’s the voice of a woman who refuses to be erased.

One of the most quietly heartbreaking moments in Ava: The Secret Conversations arrives when Gardner reflects on the loss of her singing voice - not the voice itself, but its erasure. Cast as Julie in Show Boat (1951), she had trained, prepared, and delivered a performance that could have opened doors to multiple revenue streams like a career in music or the Broadway stage. But the studio dubbed her vocals, stripping away not just a sound, but a future. “They stole my voice,” she tells the ghostwriter, her tone heavy with sorrow. “They silenced my voice.” The line lands like a wound - personal, professional, and irrevocable.

For Elizabeth McGovern, Ava: The Secret Conversations is more than a performance - it’s a homecoming and a reckoning. Raised in Evanston, she steps onto the Studebaker stage with the quiet authority of someone returning to familiar ground yet determined to carve something new. Her bond with Ava Gardner runs deeper than biography; it’s a shared lineage of women shaped - and often constrained - by the spotlight. Both endured the seductive pull of fame and the relentless scrutiny of Hollywood’s male gaze.

By writing and starring in the play, McGovern reclaims not only Gardner’s voice but her own. It’s a gesture of artistic defiance, mirroring Gardner’s late-life attempt to seize control of her narrative before it was rewritten or forgotten. In McGovern’s hands, the production becomes a dialogue across decades - between two women, two eras, and the enduring fight to be heard on their own terms

Barefoot for much of the performance - a nod to Gardner’s iconic role in The Barefoot Contessa - McGovern embodies her with a beguiling mix of childlike vulnerability and the unapologetic grit of a grand dame who’s long since stopped caring what anyone thinks. Her voice slinks through punchlines and strikes with precision when pain surfaces. When she briefly recounts the abuse endured in her marriages and career, her delivery is scalpel-sharp. The dynamic with the journalist - played with just the right cocktail of reverence and irritation - fizzes with tension, like ice clinking in a highball glass. 

And the Studebaker Theater itself - nestled in the Fine Arts Building, with its gilded history and intimate charm - feels like the perfect setting for this smoky, seductive tale. The set which portrayed her feminine elegant bedroom was delightful and had wonderful lighting effects, including a rainstorm. The space amplifies the play’s confessional tone, wrapping the audience in velvet shadows and whispered truths.

Elizabeth McGovern’s career is doused in versatility, spanning film, television, theater, and even music with effortless grace. She first made waves with her Oscar-nominated turn as Evelyn Nesbit in Ragtime (1981) and quickly cemented her screen presence in acclaimed films like Ordinary People, Once Upon a Time in America, and The Handmaid’s Tale (1990). On television, she became a household name as Cora Crawley, Countess of Grantham, in the beloved series Downton Abbey, where her performance radiated quiet strength, emotional precision, and aristocratic warmth. But McGovern’s artistry doesn’t stop at the screen - she’s a seasoned stage actor, frequently appearing in London and U.S. productions that showcase her affinity for complex, emotionally rich characters. Offstage, she leads the folk-rock band Sadie and the Hotheads, revealing yet another facet of her creative spirit. Whether she’s channeling historical icons or breathing life into original roles, McGovern brings a signature blend of intelligence, subtlety, and enigmatic charm to everything she touches.

McGovern’s performance in this highly engaging production is a workshop in charisma and control. She’s Ava Gardner with a twist of existential lemon, served in a room where truth and fiction flirt shamelessly and truth wins out. 

The painful reality is that Ava Gardner, discovered at just 18, was exploited and mistreated from the moment she entered Hollywood. Coming from deep poverty, she was especially vulnerable to the industry’s most insidious traps - the ones that have ensnared countless young women whose beauty made them targets. That Elizabeth McGovern not only stars in but also wrote this rich, layered, and deeply compelling theatrical work is extraordinary. I truly hope it reaches a wide audience—it deserves to be seen.

Highly recommended!

AVA: The Secret Conversations is being performed at Studebaker Theatre through October 12^th. For tickets and/or more show information visit https://www.fineartsbuilding.com/events/ava-the-secret-conversations/. 

*This review is also shared on https://www.theatreinchicago.com/!  

Something wicked is winding its way through the velvet curtains of Drury Lane Theatre—and it reeks of roses, red wine, and murder. Dial M for Murder, the classic thriller originally crafted by Frederick Knott in 1952 and immortalized on screen by Alfred Hitchcock in 1954, returns to the stage with a razor-sharp adaptation by Jeffrey Hatcher that’s as stylish as it is sinister.

Set against the moody backdrop of 1950s London, the production invites us into the polished yet precarious world of Margot (Amanada Drinkall) and Tony Wendice (Erik Hellman) - a couple whose marriage gleams with charm but conceals a darker undercurrent. Beneath the tailored suits and cocktail-hour smiles lies a web of betrayal, manipulation, and a meticulously plotted murder that threatens to unravel with every twist of the telephone cord.

Hatcher’s adaptation breathes fresh life into the suspense, tightening the dialogue and sharpening the stakes while preserving the noir elegance of the original. The result is a theatrical experience that feels both vintage and vital - a slow burn that simmers into a full-blown psychological inferno.

Tony Wendice, a former tennis star turned calculating husband, discovers his wife Margot’s affair with mystery writer Maxine Hadley (Alexandra Silber). Rather than confront her, he plots her murder with chilling precision, believing one perfect move will reclaim his unraveling life.

But perfection proves elusive.

When the plan collapses, the story spirals into a maze of blackmail, disloyalty, and psychological warfare. Margot becomes both pawn and player, navigating a world where loyalties shift, truths blur, and every silence speaks volumes.

This isn’t just a thriller—it’s a taut exploration of control, vulnerability, and the artful menace of manipulation.

Alexandra Silber, Amanda Drinkall, Erik Hellman in Drury Lane Theatre's Dial M for Murder.

The players are sensational in the dialogue heavy, quick witted, edge-of-your-seat mystery thriller. Erick Hellman delivers a diabolical and shrewd Tony, Amanda Drinkall is delightful as Margot and Alexandra Silber is a true force as Maxine. Johnathan Weir is also tremendous as sleuthing Inspector Hubbard while Ian Paul Custer is perfectly cast as the Tony’s patsy, Captain Lesgate.

Wonderfully directed by Adam Immerwahr in his Drury Lane debut, this production of Dial M for Murder masterfully marries vintage intrigue with a brisk, modern rhythm. It’s not just a revival - it’s a reinvention – and Drury Lane Theatre is the perfect venue to stage this mystery thriller. The bones of Frederick Knott’s original mystery remain intact, but the pacing has been sharpened, the humor dialed up, and the twists recalibrated for a contemporary audience.

Visually, the production luxuriates in noir-inspired elegance, its seductive precision shaped by a powerhouse design team: Paige Hathaway’s scenic work evokes shadow and intrigue, Joshua Schmidt’s sound design hums with tension, Emma Deane’s lighting casts drama in every corner, and Nicole Boylan’s costumes wrap the cast in mystery and allure. Shadow-drenched lighting carves out tension in every corner, while period costumes evoke mid-century elegance tinged with menace. The sound design - subtle yet insistent - acts as an invisible character, underscoring moments of dread, desire, and deception. It’s a production that doesn’t just tell a story; it envelops the audience in its atmosphere.

The result is a theatrical experience that feels both timeless and timely - a stylish homage to Hitchcockian suspense, reimagined with the velocity and wit of modern storytelling.

At its core, Dial M for Murder is a taut exploration of trust fractured by ambition, love corroded by suspicion, and appearances polished to mask peril. The play doesn’t simply flirt with deception - it dissects it. Every gesture, every line of dialogue, is laced with the question: how far will someone go to preserve their illusion of control, or to dismantle another’s?

Dial M for Murder is a psychological chess match where secrets are currency, gaslighting is taken to the extreme and duplicity is both weapon and wound. As the characters maneuver through layers of manipulation and moral ambiguity, the audience is left to ponder not just who’s guilty - but whether anyone is truly innocent.

Running through October 26^th, this is a highly recommended thriller that you won’t want to miss. For tickets and/or more show information visit https://drurylanetheatre.com/dial-m-for-murder/.

*This review is also featured on https://www.theatreinchicago.com/!  

Keith Urban’s High doesn’t just flirt with genre - it throws open the doors and invites country, pop, rock, and soul to the same smoky bar. It’s a record that pulses with emotional electricity, blending introspection and exuberance in equal measure. Urban’s voice - still golden, still agile - acts as both compass and confessional, guiding listeners through a landscape of heartbreak, freedom, and late-night abandon with the ease of someone who’s lived every lyric.

This isn’t an album that seeks symmetry. It’s not polished to perfection or bound by thematic neatness. Instead, High thrives on its contrasts: the tension between swagger and sincerity, between chaos and clarity. Urban isn’t chasing cohesion - he’s chasing connection. And in that pursuit, he delivers some of his most compelling work to date.

Let’s talk about three tracks that don’t just anchor the album - they ignite it.

“Straight Line”

If High were a road trip, “Straight Line” would be the moment the engine roars to life and the windows roll down. It’s a kinetic, full-throttle anthem that channels the spirit of Urban’s early hits like “Days Go By,” but with a deeper urgency - less youthful wanderlust, more deliberate escape. The song is a rally cry for anyone who’s felt stuck in the static and is ready to chase motion, meaning, and maybe a little madness.

The guitar work is lean and propulsive, the chorus tailor-made for stadium echoes, and Urban’s delivery is infused with a sense of earned liberation. It’s not just a song - it’s a reclamation. A reminder that joy isn’t passive; it’s something you have to chase, even if the road ahead isn’t paved.

“Straight Line” doesn’t just open the album - it defines its emotional architecture. It’s the heartbeat that pulses through every track that follows.

“Messed Up Like Me”

Here, Urban trades the open road for a dimly lit room and a brutally honest mirror. “Messed Up Like Me” is a slow burn - seductive, shadowy, and emotionally raw. It’s the kind of song that lingers long after it ends, not because it’s catchy, but because it’s true. Urban explores the wreckage of a toxic relationship with aching vulnerability, capturing the paradox of two people who are wrong for each other but right in all the wrong ways.

The production is sleek and moody, with a haunting undercurrent that mirrors the dysfunction. Urban’s vocals are stripped down and intimate, as if he’s whispering confessions into the dark. It’s one of the album’s most emotionally resonant moments - a ballad that doesn’t beg for sympathy, just understanding.

As Urban put it, it’s about a relationship where “only one good aspect” keeps them tethered, while everything else is unraveling.

“Go Home W U” (feat. Lainey Wilson)

And then there’s this glorious detour into honky-tonk heaven. “Go Home W U” is a duet that doesn’t pretend to be romantic - it’s rowdy, bluesy, and unapologetically impulsive. Lainey Wilson brings fire and flair, trading verses with Urban in a playful, whiskey-soaked back-and-forth that feels like a flirtatious barroom dare.

The chemistry is electric, the groove infectious, and the vibe pure neon mischief. It’s a song for sticky floors, bad decisions, and the kind of night that ends with laughter and regret in equal measure. The psychedelic-tinged music video only amplifies the chaos, turning the track into a visual fever dream of flirtation and freedom.

Urban said it began as a late-night drum loop and evolved into a chorus “that could be sung by any drunk person in any bar anywhere in the world.” Mission accomplished.

High doesn’t posture or preach - it confesses. It trades profundity for authenticity, and in doing so, uncovers something far more compelling than polish: truth. Whether Keith Urban is reckoning with past regrets, chasing the rush of reinvention, or simply strumming his way through the chaos with a grin and a guitar, he’s never felt more grounded, more vulnerable, more alive.

The album’s brilliance lies in its refusal to play it safe. It doesn’t follow a straight line - it zigzags through joy and wreckage, swagger and sorrow, impulse and introspection. It’s a celebration of the beautiful mess that lives between heartbreak and healing, between the thrill of the moment and the weight of memory.

This isn’t a tidy journey. It’s a wild ride. And Urban doesn’t ask you to hold on - he dares you to let go.

Back by popular demand and bursting with harmony, MadKap Productions resurrected the beloved musical revue Forever Plaid for three jubilant encore performances at Skokie Theatre on August 16th and 17th. After its earlier-season success, this revival felt less like a return and more like a victory lap—richly earned and warmly welcomed.

If unfamiliar, Forever Plaid is a toe-tapping, heartwarming blast from the past that brings four lovable misfits back from the great beyond for one last shot at musical glory. Meet Sparky, Smudge, Jinx, and Frankie—four sweetly square guys with a passion for pitch-perfect harmony and matching plaid blazers. Just as their dreams of stardom are about to take off, fate throws a curveball (okay, a car crash), and their big break is cut short. But thanks to a cosmic do-over, the Plaids descend from the afterlife to croon their way through a heavenly setlist of 1950s hits like “Three Coins in the Fountain,” “Catch a Falling Star,” and “Love Is a Many-Splendored Thing.” What follows is a delightfully awkward, laugh-out-loud evening of music, mishaps, and mid-century magic as the boys battle nerves, forgotten lyrics, and the occasional nosebleed—all in perfect harmony.

But don’t let the retro kitsch fool you—Forever Plaid is more than just a jukebox joyride. It’s a love letter to friendship, second chances, and the kind of earnest charm that never goes out of style. With tight barbershop harmonies, hilariously clunky choreography, and a wink to the innocence of yesteryear, the show hits all the right notes. As the Plaids find their groove and rediscover the joy of singing together, they remind us that even the most unexpected encore can be a chance to shine. Whether you’re a sucker for nostalgia or just love a good harmony with a side of heart, Forever Plaid delivers a feel-good experience that’s equal parts goofy and glorious.

Directed and choreographed with pizzazz by Edward Lindham and musically supercharged by Jeremy Ramey, this production of Forever Plaid is a plaid-patterned rocket ride through retro heaven. Lindham leans gleefully into the group’s lovable awkwardness, turning every fumble and flinch into comedy gold, while Ramey’s musical direction keeps the harmonies tighter than a doo-wop group at a sock hop. The result? A toe-tapping, heart-thumping, harmony-hugging spectacle that’s equal parts sentimental swoon and vintage vaudeville—with just enough camp to keep things deliciously offbeat.

And the cast? LOVED each one of them! They don’t just hit their marks - they ignite the stage. Nick Arceo’s Smudge is the stealth standout, slipping in sly one-liners and velvety harmonies with the ease of someone who knows exactly how good he is. Sean M. G. Caron’s Frankie is a jitterbug of sincerity, radiating boyish wonder and crooning with a sweetness that could soften a soda fountain. Elijah McTiernan’s Sparky lives up to his name - he ricochets through the show with razor-sharp timing and a grin that dares you not to laugh. And Taelon Stonecipher’s Jinx? He begins as a whisper, but crescendos into a powerhouse—his final notes feel like a love letter from the afterlife, equal parts hilarious and haunting.

Together, they conjure a comeback that’s equal parts doo-wop séance and bromantic fantasia—a harmony-soaked hug from the great beyond, and utterly impossible to resist.

"Plaid-tastic!"

And if you've never been to Skokie Theatre, be sure to consider it as a great place to see a stage production. Since its establishment in 2010 by producer Wendy Kaplan and director Wayne Mell, MadKap Productions has played a pivotal role in the artistic revitalization of the Skokie Theatre. Upon assuming leadership of the venue in 2014, Kaplan and Mell transformed it from a dormant space into a vibrant cultural hub. Each season, MadKap presents a thoughtfully curated subscription series that spans a wide spectrum—from enduring theatrical classics to innovative contemporary works—ensuring a diverse and enriching experience for audiences of all tastes.

Having attended several of their productions, I can attest to the consistent quality and heartfelt execution that define MadKap’s approach. Their commitment to excellence extends well beyond the stage. Throughout the year, the Skokie Theatre remains active with an eclectic array of programming, including live concerts, comedy showcases, and popular community events such as the Skokie Idol competition and the Short Play Festival.

The venue itself offers an inviting and intimate atmosphere. With general admission seating, early arrival is recommended to secure a preferred location; however, the thoughtful layout ensures that every seat provides a clear and comfortable view of the performance.

Next up – Pippin, starting September 5th. 

For more information and tickets to upcoming events, visit https://gopher-halibut-ga77.squarespace.com/.

*This review is also featured on https://www.theatreinchicago.com/!