Displaying items by tag: Brightside Theatre

BrightSide Theatre has announced the full cast and artistic team for its production of PRIVATE LIVES, the third mainstage production of the company's 14th season. BrightSide Artistic Director Jeffrey Cass will direct Noël Coward's sharp, sophisticated comedy of passion and wit. When former lovers Elyot and Amanda unexpectedly reunite during their honeymoons with new spouses, sparks fly in this timeless exploration of love, desire, and chaos. PRIVATE LIVES is one of the most popular comedies ever, having been revived numerous times on Broadway and in London's West End ever since its 1930 premiere. Additionally, it has been adapted many times for films, TV and radio. PRIVATE LIVES will play from April 10-26 in The Theater at Meiley-Swallow Hall of North Central College, at 31 S. Ellsworth in Naperville. 
 
Cass's cast will include Jon Cunningham of Schaumburg as Elyot Chase. Cunningham is a veteran of many musicals and plays across the Chicagoland area and has been leading man in BrightSide's SHE LOVES ME and  A LITTLE NIGHT MUSIC. His most recent BrightSide appearances have been in JESUS CHRIST SUPERSTAR and the Summer in the Parks concerts. Jamie Marie Paolo of Bensenville, who is remembered by BrightSide audiences for her performance as Petra in A LITTLE NIGHT MUSIC, will be Elyot's ex-wife, Amanda. Cast as Elyot and Amanda's new spouses are Emily Sherman of Chicago as Sybil Chase, and Matt Hellyer of Algonquin as Victor Prynne. Sherman appeared with BrightSide in 2025's A MIDSUMMER NIGHT'S DREAM, and Hellyer has performed throughout the Fox Valley with companies including the Albright Theatre in Batavia and the Elgin Theatre Company. Completing the cast is Bev Coscarelli of Chicago, who will play Amanda's maid, Louise. Coscarelli is known to BrightSide audiences for her role in MOON OVER BUFFALO. Rick Berggreen of Naperville will understudy both male roles, while Sydnee Howes of Chicago will understudy all female roles.

The production team, in addition to Cass as director, includes Bill Delmonico (Scenic Design/ Technical Director), Cheryl Newman (Costume Designer), Kurt Ottinger (Lighting Designer), Delaney Kosar (Prop Designer), and Kristin Ripoli (Stage Manager).
 
PRIVATE LIVES will be performed in The Theater at Meiley-Swallow Hall, North Central College, 31 S. Ellsworth, Naperville. Tickets are $37.00 for adults and $32.00 for students and seniors. Tickets are on sale now at www.BrightSidetheatre.com or by phone at 630-447-TIXS (8497).  The April 11 performance will be ASL interpreted, thanks to the generous support of Naperville Lions Club. Special seating for this performance may be reserved with the code ASL.

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/.

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/. 

Brightside Theatre's latest production, Jekyll And Hyde In Concert is a truly mesmerizing experience. And if you are a Chicago resident like myself, this theatrical performance is well worth the not-so-long trek to the burbs. The musicians and the impressive array of talented singers delivered a performance that seized my attention from the very start and held me spellbound throughout. With cozy table seating on the floor and traditional theater seating in the rear, there isn't a bad spot in the house. The acoustics are superb, and the singers frequently stroll through the audience, creating an immersive and intimate experience.

Jekyll and Hyde In Concert rejuvenates the eerie narrative of The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson. This musical retelling masterfully brings the enthralling story to life on stage, showcasing the complexity of human nature through riveting songs and dynamic performances. The plot centers on the esteemed Dr. Henry Jekyll, whose attempt to distinguish the good from the evil within himself results in the birth of the malevolent Edward Hyde. As Hyde's horrifying deeds escalate uncontrollably, Jekyll battles with the monster he has unleashed, culminating in a heart-wrenching and inevitable end. The concert format accentuates the stirring score, featuring unforgettable pieces that illuminate the internal and external struggles of the characters. With its powerful melodies and expressive lyrics, the audience is drawn into the mesmerizing and dark world of Jekyll and Hyde, promising an unforgettable theatrical journey.

Picture a theater abuzz with excitement as the audience prepares for an "on book" concert performance of Jekyll And Hyde. The performers, each clutching their scripts and scores, take their places at music stands arranged across the stage. Behind them, a full orchestra sits poised, instruments at the ready. Magical.

As the orchestra dives into the stirring opening notes, the performers join in, bringing to life characters such as Dr. Henry Jekyll, Lucy Harris, Emma Carew, and Sir Danvers Carew with their powerful vocals and deep emotion. The "on book" format adds an intimate, unpolished charm to the performance, allowing the audience to focus on the music and the performers' interpretations. Throughout the concert, the orchestra's lush harmonies and soaring crescendos amplify the drama and intensity of the story, creating a gripping and immersive experience. This fusion of live orchestration and on-book singing offers a distinct and unforgettable rendition of the cherished musical.

Gerald Kelel masterfully leads this concert, seamlessly transitioning between the roles of Dr. Henry Jekyll and Edward Hyde, executing each note with precision and authority. Rachel Carreras as Lucy Harris and Julie Ann Kornak as Emma Carew also deliver standout performances, showcasing their impressive vocal range. Veteran stage actor Stan Austin shines as Sir Danvers Carew, bringing intensity and robust vocals to the role. While the entire cast is brimming with talent, both Molly Bremer and Sean Rhead each have their moments to highlight their remarkable vocal prowess. This is just a brilliant piece of theatre in concert form that was such a pleasure to watch.

This particular performance of Jekyll And Hyde In Concert is a highlight of Brightside Theatre’s Concert Series, following the company’s spectacular run of Dracula. Artistic Director Jeffrey Cass has skillfully curated the upcoming season, featuring Beetlejuice Jr., Pippin, and A Midsummer Night’s Dream, promising an exhilarating 2025.

Brightside Theatre, nestled in the heart of Naperville's historic downtown district, is a professional non-profit theatre company dedicated to enlightening, educating, and entertaining audiences. Established in 2011, it holds the distinction of being the only professional non-profit theatre in Naperville. Brightside Theatre's diverse offerings include comedies, inspirational stories from around the globe, mainstage productions, a musical theatre concert series, and a free Summer in the Parks Series. They also provide educational programs and summer camps for young performers. Recognized with multiple awards, Brightside Theatre has been named the Best Entertainment Venue by Naperville Magazine for five consecutive years.

RECOMMENDED!

Jekyll And Hyde In Concert

About: Conceived for the stage by Frank Wildhorn and Steve Cuden

Music by Frank Wildhorn, Book and Lyrics by Leslie Bricusse

Directed by De Haddad

Musical Direction by Phil Videckis

2 hours 15 minutes including intermission

Where: Madden Theatre, North Central College, 171 Chicago Avenue, Naperville, IL

When: Fridays and Saturdays at 7:30 pm and Sundays at 2:00 pm from January 17 through 26, 2025.

Tickets: $37 for Adults and $32 for Seniors and Students

Show and Theatre Information: http://www.brightsidetheatre.com/ 

For more than 50 years, Tim Rice & Andrew Lloyd Webber’s powerful masterpiece, Jesus Christ Superstar, has wowed audiences with its unorthodox look at the life and persona of Jesus Christ through its soaring lyrics and driving rock score. And so, it is most appropriate that BrightSide Theatre concludes its 12^th season, entitled “A Season of Passion,” with this impassioned classic rock opera.

From the iconic solo guitar rift to the poignant close as Mary, Jesus’ mother, cradles her crucified son’s head in her lap, BrightSide’s production at North Central College’s Meiley-Swallow Hall in Naperville provides a fast-paced and thoroughly entertaining evening powered by the strong vocal performances of the main cast and an exuberant ensemble.

The show, loosely based on the Gospels, focuses on the final days of Jesus’ life leading up to his crucifixion, as seen largely through the eyes of Judas Iscariot. At the heart of the story are the personal conflicts between Jesus, his disciples, the Jewish people, and the leadership of Rome, with special attention given to Jesus’ relationships with Judas and Mary Magdalene.

Conceived at first as a groundbreaking rock double-album in the early 70s, the music and lyrics by Rice and Webber, then only 25 and 21 respectively, has held up through the years. In BrightSide’s production, artistic Director Jeffrey Cass takes a contemporary approach to the show by imagining Jesus’ story in a modern setting, challenging the audience to consider how Jesus might be received in today’s culture.

To set the tone, the cast is clad in contemporary, edgy clothes and the set is minimal, utilizing metal scaffolding to flow from one scene to another. Cass also adds nice touches such as when the ensemble takes out their cell phones to record Jesus’ response after meeting with the Jewish High Priest, Caiaphas (played by Stan Austin). And, as what would be expected with any celebrity-sighting today, they jostle one another to grab a “selfie” with the proclaimed Messiah.

The only off-note for me was the wardrobe choice for Jesus, played by BrightSide veteran Edward MacLennan. While everyone else is edgy and modern, Jesus arrives on stage with what looked like a hooded bathrobe. I would have preferred him to have a more updated, dignified vibe than he did.

That aside, MacLennan turns in a masterful performance and demonstrates his incredible vocal range in two incredibly powerful scenes. In Act One, MacLennan captures Jesus’ passion and righteous anger in “The Temple,” and then his frustration as Jesus is overwhelmed by the needs of those clamoring for healing and help. In Act Two, MacLennan is outstanding as he portrays Jesus in Gethsemane, as Jesus struggles to comprehend and accept that path before him, his anguish palpable through MacLennan’s masterful vocalizations.

Turning in an equally strong performance is Michael Davis Arnold as Judas. Making his debut at BrightSide Theatre, Arnold’s strong and expressive vocals underscore his character’s personal doubts and questions about this man Jesus and his claims to be God. Arnold ably portrays Judas’ inner struggles, which come to a crashing climax as Judas, horrified by Jesus’ harsh treatment and the knowledge that he will forever be remembered as a traitor, can no longer live with his regrets. Encouraged by the three Tormentors (wonderfully performed by Kassidy Alderman, Amber Golich, and Julia Hope Budd), Judas kills himself.

Meghan Kessel, another BrightSide veteran, shines in her role as Mary Magdalene. Her beautiful and soulful rendition of “I Don’t Know How to Love Him,” possibly the show’s most well-known signature songs, does not disappoint. And Caleb Hand’s Herod is hilarious. Flanked by his party-loving court, Herod struts and postures across the stage as he tries to coax Jesus into doing just one little miracle for him.

The show is propelled by an excellent ensemble that moves adroitly from adoring crowd to questioning disciples to a jeering mob calling for Jesus’ crucifixion, driven by the choreography of Jake Ganzer. The ensemble and cast are backed up by a talented group of musicians, under the experienced direction of Phil Videckis.

The show explodes into a glittering climax as the ensemble, led by Judas’ spirit, performs the title song, “Superstar,” questioning Jesus’ plan and purpose in coming to the world when he did before the dramatic closing as Jesus is led to the cross and put to death.

For those who grew up listening to the album as well as newcomers to this iconic rock opera, BrightSide’s entertaining rendition of Jesus Christ Superstar is a must-see production and well worth the trip to the western suburbs. You can catch Jesus Christ Superstar at North Central’s Theatre at Meiley-Swallow Hall, 31 S. Ellsworth, Naperville, now through June 23. Ticket information can be found at www.BrightSidetheatre.com or by phone at 630-447-TIXS (8497). 

It was a dark and stormy night (yes, it really was!) – the perfect ambiance for taking in one of theatre’s classic comedic thrillers, Ira Levin’s Deathtrap, staged by BrightSide Theatre at North Central College’s Meiley-Swallow Hall, in Naperville.

For knowledgeable theatre buffs, Deathtrap holds the record for the longest-running comedic thriller on Broadway. It was nominated for four Tony Awards, including Best Play, and was later adapted for the screen, starring Michael Caine and Christopher Reeve.

It’s the story of world-famous playwright Sidney Bruhl, who for the past 11 years has been riding the fading fame of his one and only hit play, The Murder Game. Having to squeak by on his wife’s income and forego his once lavish lifestyle, Sidney is looking for a way to regain his fame – and fortune.

As the play opens, Sidney is reading a manuscript that arrived in the mail from one of his seminar students. Much to his chagrin, the script is brilliant, and in his estimation, bound to be a smash hit. Sidney shares his thoughts with his wife, Myra, and together the pair conspire to make the manuscript their own. While Myra promotes collaboration (with Bruhl’s name taking top billing, of course), Sidney has a more sinister solution to their dilemma in mind.

At Sidney’s invitation, the young playwright, Clifford Anderson, arrives at their secluded Connecticut farmhouse, to discuss the manuscript. What ensues is a series of twists and turns, unexpected and shocking events, that keeps the audience guessing as to what will happen next. Throw in a hilarious neighbor, Helga ten Dorp, who just happens to be a noted psychic whose suspicions are spiked by the strange goings-on at the Bruhl’s house, and you have all the ingredients for an entertaining and lively evening.

Under the skillful direction of Jason Harrington, who directed BrightSide’s The Odd Couple last season, the cast turns in a well-paced and skilled performance. Even for those familiar with the plot, as I was, I found myself jumping and gasping at all the right places and thoroughly engaged throughout the evening.

Scott Kelley stars as Bruhl and turns in a convincing performance as the washed-up playwright looking for an easy way out of his writer’s block. Kelley has appeared in numerous other BrightSide productions, including the 2021 Miracle on 34^th Street, and is a veteran actor on the Chicago theatre scene. His hapless and anxiety-ridden wife, Myra, is excellently portrayed by Marianne Embree, who is appearing in her third BrightSide production.

Tyler Szarabajka, who plays the young playwright, Clifford Anderson, is making his professional debut in Deathtrap. He plays the role with just the right amount of cockiness and youthful assurance that makes him a great foil to his uptight, older mentor and hero. And Lisa Braatz absolutely shines as the quirky psychic, Helga ten Dorp, as she makes one outlandish prediction after another as she “senses” the pain and trauma in the room. The cast is rounded out by John Zimmerman as Porter Milgrim, the staid family friend and attorney for the couple, who brings a modicum of somberness to the proceedings – until the final scene!

Adding to the overall experience of the production is the theatre itself. Located on North Central College’s campus, just a few blocks off downtown, this gem of a theatre offers theatregoers an intimate and cozy interaction with the performers. There’s not a bad seat in the house, and you feel as if you are in on the action because of the proximity to the actors.

BrightSide Theatre, under Artistic Director Jeffrey Cass and Executive Director Julie Ann Kornak, is now in its 13^th season. Billed as Naperville’s only professional theatre performing in the historic downtown district, BrightSide has won “Best of Naperville” Live Entertainment Venue for the past six years. Even though I’ve lived in Naperville for years, this was my first introduction to BrightSide Theatre, and I was not disappointed.

For theatre-enthusiasts, or anyone looking for an entertaining night at the theatre, without the fuss and bother of going downtown Chicago, BrightSide’s Deathtrap production will more than satisfy. Add in its location right off the downtown with access to Naperville’s many and varied dining options, and you have the perfect combination for dinner and theatre.

You can catch Deathtrap at North Central’s Theatre at Meiley-Swallow Hall, 31 S. Ellsworth, Naperville, now through March 24^th. Ticket information can be found at www.BrightSidetheatre.com or by phone at 630-447-TIXS (8497).