Displaying items by tag: Nederlander Theatre

The beloved Rodgers and Hammerstein classic The Sound of Music returns to the Windy City in a dazzling stage revival now playing at the James M. Nederlander Theatre. This timeless tale of love, courage, and music unfolds with renewed vibrancy, inviting audiences of all ages to fall in love all over again.

Whether you're a lifelong devotee of the film or stage version or stepping into Maria’s world for the very first time, this production offers a theatrical experience that’s as rich as it is resonant. From its sweeping alpine backdrops and meticulously crafted sets to a cast that radiates warmth, wit, and vocal brilliance, every element is designed to stir the soul.

At its core, The Sound of Music remains one of the most enduring love stories ever told - between Maria and Captain von Trapp, yes, but also between a family and their homeland, between music and the human spirit. With iconic songs like “Edelweiss,” “My Favorite Things,” and “Climb Ev’ry Mountain,” this revival doesn’t just revisit a classic - it reawakens it.

Cayleigh Capaldi (Maria Rainer) in The Sound of Music.

The Sound of Music is a luminous and emotionally stirring stage musical set against the breathtaking backdrop of pre-World War II Austria. At its heart is Maria, a spirited and unconventional postulant at Nonnberg Abbey whose zest for life and spontaneous bursts into song set her apart from the cloistered world of the convent. When she is sent to serve as governess to the seven children of the widowed and emotionally distant Captain Georg von Trapp, Maria finds herself in a household governed by strict discipline and silence. Though initially met with skepticism and resistance, her warmth, imagination, and infectious love of music gradually break through the children’s defenses - and eventually, the Captain’s as well.

As Maria reawakens the household with laughter and melody, the von Trapp family begins to rediscover one another. The children, once regimented and joyless, blossom under her care, and the Captain, long hardened by grief and duty, finds himself drawn to Maria’s vitality and compassion. Their growing affection unfolds tenderly, culminating in a romance that feels both inevitable and hard-won. The family’s transformation is mirrored in the music they create together - joyful, tender, and deeply human. Songs like “Do-Re-Mi,” “My Favorite Things,” “Sixteen Going on Seventeen,” and “Edelweiss” become not just musical numbers, but emotional touchstones that chart the family’s journey from isolation to unity.

Yet, as the hills come alive with music, the world beyond their villa darkens. The Anschluss—the annexation of Austria by Nazi Germany - casts a chilling shadow over their newfound happiness. When Captain von Trapp is ordered to accept a commission in the German navy, he is faced with a moral reckoning. Refusing to serve a regime he cannot support, he and his family must make a harrowing decision: to flee their homeland in search of freedom. Their escape, staged during a public music festival, becomes a moment of breathtaking suspense and quiet heroism, culminating in their flight across the mountains under cover of night.

Premiering on Broadway in 1959, The Sound of Music marked the final collaboration between legendary composer Richard Rodgers and lyricist Oscar Hammerstein II. It remains a cornerstone of American musical theater, cherished for its soaring melodies, heartfelt storytelling, and its enduring message: that love, courage, and the human spirit can triumph even in the darkest of times. Its legacy continues to resonate with audiences around the world, reminding us that music can be both a refuge and a rallying cry.

Cayleigh Capaldi brings a luminous vitality to Maria, infusing the role with a captivating mix of innocence, mischief, and emotional depth. From her first entrance, Capaldi radiates warmth and charisma, embodying the spirited young woman whose heart leads her from the abbey to the hills of Austria. Her Maria is not just charming - she’s refreshingly authentic, with a spark of wit and a tender vulnerability that makes her journey feel deeply personal. Capaldi navigates the character’s emotional terrain with finesse, shifting effortlessly between playful exuberance and introspective grace.

Vocally, she is nothing short of commanding. Her voice glides through the Nederlander Theatre with shimmering clarity and expressive nuance, embracing the full emotional spectrum of Rodgers and Hammerstein’s iconic score. In ensemble numbers like “Do-Re-Mi,” she leads with transmittable energy and precision, while her solo moments—especially the titular “The Sound of Music” - reveal a soul-stirring resonance that lingers long after the final note.

Capaldi doesn’t just play Maria - she inhabits her, offering a performance that is both technically masterful and emotionally alive. It’s a portrayal that anchors the production with heart, humor, and undeniable star power.

Kevin Earley delivers a commanding and emotionally resonant performance as Captain Georg von Trapp, offering a portrayal that evolves with striking depth and humanity. At first glance, Earley embodies the Captain’s military precision and stoic reserve with effortless authority. His posture, tone, and presence reflect a man shaped by discipline and loss—a widower clinging to order in a world that feels increasingly uncertain. Yet beneath that stern exterior, Earley allows glimmers of vulnerability to emerge, setting the stage for a gradual and deeply moving transformation.

As Maria’s influence begins to thaw the Captain’s guarded heart, Earley’s performance shifts with subtlety and grace. His rediscovery of music, paternal warmth, and romantic possibility is portrayed with such sincerity that the emotional payoff feels both earned and profound. In moments of quiet reflection and tender connection - especially with his children and Maria - Earley reveals the soul of a man learning to live and love again.

Together, he and Cayleigh Capaldi share a chemistry that is both grounded and electric. Their dynamic breathes fresh life into this iconic love story, anchoring the production with emotional truth and theatrical finesse. These are not just roles well played - they are characters fully lived, making their journey as stirring as the music that carries it.

Supporting players bring depth, power, and polish to this production of The Sound of Music, with standout performances that elevate the emotional and comedic stakes.

Christiane Noll commands the stage as Mother Abbess, delivering a performance that is both spiritually grounded and vocally transcendent. Her rendition of “Climb Ev’ry Mountain” is nothing short of breathtaking - a soaring, soul-stirring anthem that anchors the show’s emotional core. Noll’s presence exudes wisdom and warmth, portraying the Abbess not just as a religious figure, but as a guiding force in Maria’s journey toward self-discovery and love. Her voice, rich and resonant, fills the Nederlander Theatre with a sense of hope and conviction that lingers long after the final note.

Nicholas Rodriguez is pitch-perfect as Max Detweiler, the savvy and socially nimble Third Secretary of Education and Culture. Rodriguez leans into Max’s charm and opportunism with delightful precision, capturing the character’s comic timing and moral ambiguity without ever tipping into caricature. His rapport with the von Trapp family feels genuine, and his scenes crackle with energy—especially as he navigates the shifting political landscape with a mix of wit and self-preservation. Rodriguez’s Max is a man who knows how to play the game but never loses sight of the music that gives life its meaning.

Kate Loprest brings elegance and edge to Elsa Schraeder, the sophisticated socialite poised to become the Captain’s second wife. Loprest’s portrayal is layered - cool and composed on the surface, yet subtly revealing the cracks beneath as Maria’s influence grows. She captures Elsa’s ambition and vulnerability with finesse, making her more than just a foil to Maria. Loprest’s performance adds complexity to the romantic triangle, reminding us that even the “would-be” wife has her own story to tell.

Together, these performers enrich the production with texture, tension, and vocal brilliance - ensuring that The Sound of Music resonates far beyond its central love story.

Ian Coursey (Rolf Gruber) and Ariana Ferch (Liesl von Trapp) in The Sound of Music.

The von Trapp children light up the stage with charm, precision, and musicality, bringing warmth and vitality to every scene they inhabit. From the moment they appear, the young performers captivate with their seamless harmonies, crisp choreography, and infectious energy. Each child brings a distinct personality to their role, yet together they form a cohesive and endearing ensemble that anchors the emotional heart of the production. Their comedic timing and heartfelt interactions with Maria add levity and tenderness, making their scenes some of the most memorable in the show.

Leading the pack is Ariana Ferch as Liesl, the eldest daughter navigating the cusp of adulthood with grace and curiosity. Finch delivers a beautifully layered performance - equal parts youthful exuberance and emerging maturity. Her voice is clear and expressive, and she moves with a dancer’s ease, especially in the show-stopping number “Sixteen Going On Seventeen.” Paired with Ian Coursey as Rolf Gruber, the two share a chemistry that sparkles with innocence and flirtation. Coursey brings a boyish charm and vocal strength to Rolf, and together, their duet becomes a highlight of the evening - playful, romantic, and visually delightful.

This production doesn’t just rely on nostalgia - it reinvigorates the von Trapp children with fresh talent and heartfelt performances, reminding us why their story continues to resonate across generations.

Brilliantly directed by Jack O’Brien, I have nothing but high praise for this wonderful production of The Sound of Music. Broadway in Chicago’s offering is a glorious revival that sings with heart, harmony, and timeless magic! With its grand, meticulously crafted sets, powerhouse vocals, and standout performances across the board, this production of The Sound of Music is nothing short of a theatrical triumph.

Highly Recommended.

The Sound of Music is being performed through November 2^nd at the James M. Nederlander Theatre. For tickets and/or more show information, visit https://www.broadwayinchicago.com/shows/the-sound-of-music/.

The Nederlander Theatre erupted in thunderous applause as the lights went down on the triumphant return of “Hamilton” to Chicago. Lin-Manuel Miranda's groundbreaking musical, finishing a successful run in Anchorage, Alaska, delivered an electrifying performance that left the Chicago audience in awe of its scope and magnitude. Chicago lifted “Hamilton” on its broad shoulders and has no intention of letting it down.

"Hamilton" is a masterclass in diversity and talent. Under the skilled direction of Thomas Kail and choreography of Andy Blankenbuehler, a diverse cast brings the story of Alexander Hamilton to life with passion and energy. Pierre Jean Gonzalez commands the stage with his charismatic presence and powerful vocals, more than ably supported by a talented ensemble that includes Deon'te Goodman as Aaron Burr, Nikisha Williams as Eliza Schuyler, Marcus Choi as George Washington, Lencia Kebede as Angelica Schuyler, Jared Howelton as Marquis de Lafayette and Thomas Jefferson, Eddie Ortega as Hercules Mulligan and James Madison, Tyler Fauntleroy as John Laurens and Philip Hamilton and King George is played by Neil Haskell.

Company of 'Hamilton' at James M. Nederlander Theatre

Seeing the production for the third time, it’s hard not to make comparisons. I felt Goodman’s Burr was a tad bit passive and slow to anger in the face of Hamilton’s slights. Choi’s Washington was a commanding and inspiring figure. He brought a sense of dignity and gravitas to the role. “One Last Time” was as much a tearjerker as “It’s Quiet Uptown”. Williams’ Eliza is a beautiful and heartbreaking character. She brings a sense of grace, strength, and vulnerability to her interpretation. Howelton’s Lafayette/Jefferson was big and energetic, a joy to watch. I missed the chemistry and affection between Lauren and Hamilton, a minor detail, but still noticeable.

The ensemble cast is outstanding, delivering stunning performances in both the vocal and dance numbers. The choreography is inventive and exhilarating, seamlessly blending hip-hop, jazz, and ballet to create a unique and visually stunning performance. The show's musical score, which blends hip-hop, R&B, and traditional Broadway music, is also a highlight. The songs are catchy, thought-provoking, and emotionally resonant. Miranda has said hip hop is the "heart and soul" of Hamilton. He has incorporated elements of the genre throughout the show, from rapid-fire rapping to the use of samples and beats. Some of the specific hip hop artists that have influenced Miranda include The Notorious B.I.G., Jay-Z, Nas, and Eminem.

Stephanie Jae Park, Ta_Rae Campbell and Paige Smallwood in 'Hamilton'

Hamilton is a truly unique musical that draws on a wide range of musical influences. Miranda has said that he wanted to create a musical that would be "new and fresh, but also familiar and accessible." He has certainly succeeded in doing so, and Hamilton has become one of the most popular and critically acclaimed musicals of all time. I personally think it should be required reviewing for history classes. Learning American history has never been so entertaining.

Hamilton is a powerful and moving musical, teaching viewers many important lessons. It is a story about ambition, perseverance, forgiveness, the power of storytelling and of course, to never throwing away your shot.

When: Through Dec. 30

Where: James M. Nederlander Theatre, 24 W. Randolph St.

Tickets: $42.50+

Info: Broadwayinchicago.com

Digital lotteries will begin each Friday and end the following Thursday for the upcoming weeks performance - 

www.broadwayinchicago.com/hamilton/ham4ham-lottery-details-2023/

For tickets and/or more show information visit https://www.broadwayinchicago.com/show/hamilton/. 

“Jagged Little Pill,” Alanis Morisette’s 1995, 16X platinum album, with 33 million copies sold, is her declaration of the terms of her self-emancipation. Timelessly truthful and inspirational, it remains an emotional catalyst for generations of people.

The album is at the core of Broadway in Chicago’s “Jagged Little Pill,” which opened Wednesday for a limited run (through April 23) at the Nederlander Theatre in Chicago. Nominated for 15 Tony Awards in 2021 following a pandemic caesura, this long-awaited Broadway roadshow is unlike other jukebox musicals— “Tina” or “Donna Summer” or “Carole King”—in that it is not a biography of Morisette. And unlike Sarah Bareilles’ “Waitress,” or The Who’s rock opera “Tommy” (coming to Goodman this summer) “Jagged Little Pill” doesn’t follow an inherent album-based storyline.

Rather, it was the emotional inspiration for a show written by Tony and Academy Award winner Diablo Cody (Juno, Tully), lyrics and music from Morrisette hits such as “You Oughta Know,” “Head Over Feet,” “Hand In My Pocket,” and “Ironic”, as well as brand new songs written for the show.

Like the album it relates an internal emotional journey, not of Morrisette, but of an upper middle class American family—rich turf for drama, from Ibsen to Chekov to Williams. “All happy families are alike, but every unhappy family is unhappy in its own way,” as Tolstoy notes, and we watch the Healy's go their own way from ostensibly happy to quite a mess. But never fear, this is a Broadway musical and they make their way back to the road to redemption to deserving standing ovations at the end.

Heidi Blickenstaff reprises her role from the Broadway production as the mother, Mary Jane Healy, with Lauren Chanel as her adoptive daughter Frankie, Chris Hoch as her husband Steve, and Dillon Klena as Frankie’s older brother Dillon. Blickenstaff has both the sensitivity to deliver Morrisette’s soulful sentiments, and the Broadway belt to go full throttle. Chanel is perfectly expressive of Morrisette’s range and when joined by her first love-interest, Jo (Jade McCleod) we have a duet providing great renditions of the album melodies, woven so beautifully to the storyline. Klena is also notable singing Morissette as older brother Nick as is Rishi Galani as Frankie’s other love interest.

One aspect of the production is particularly inventive: choreography by Beyoncé collaborator Sidi Larbi Cherkaoui. With Morrisette’s sensitive reflective lyrics (in a vein with Natalie Merchant, Sarah McLachlan, or Jewel) Cherkaoui and director Diane Paulus (known for Sarah Bareilles’ “Waitress) created dance avatars who are visually similar to the actors, but dance at major numbers relieving the leads from having to hoof it big numbers in ways that would seem out of character or clash with the underlying material.

At the other extreme, the potential for this approach can also be seen in an intimate pas de deux in which Mary Jane Healy confronts her inner demons with her dance double, Jena VanElslande. It’s a tour de force.

Another show stopper for creativity is a scene at a pharmacy played forward, then later reprised in reverse, as Mary Jane examines her path to drug addicition, a family secret until it became an undeniable plague. The recount of her growing addicition to oxycontin, graduation to harder drugs, and the crisis and intervention that led to her recovery are very accurate. 

Highly recommended, “Jagged Little Pill” runs through April 23 at the James Nederlander Theatre in Chicago.

In the world before, when the availability of musical theater was just a given, just another one of life’s perks I took for granted, there was a show that hadn’t yet been available, at least not to me. I’d been perked up, waiting to see it since it became the next big thing in 2016 or 2017, waiting for the national tour to hit Chicago. Missing the brief 2019 stopover, I was all set for the 2020 production…

…now, here in 2022 or whenever it is, that production is finally here…

And yes, the current run of Dear Evan Hansen at the James M. Nederlander Theatre was worth the wait!

In the ensuing years, our whirlwind world’s made media and songs and moments come and go, and I’d totally forgotten about the show, about what I’d known about it before, about all the hype all those hype cycles ago. Which made me come into this production more in the dark than I think I ever have for a show. This was new, like if I’d walked into Broadway’s Music Box Theatre in 2016, before all the hype and the Tony awards and everything else, and I was just there to enjoy a really good musical. And this musical proved to be just that, thanks to a stellar cast and crew.

As the titular Evan, Anthony Norman transforms himself over the course of the show. At first, I wasn’t sure if his jitters were actual jitters or the character, even as he showed he could really sing. But Norman’s Evan really comes out of his shell, for better or for worse, as the story progresses. And what a voice—I’ve still got “For Forever” going through my head.

Because, despite the heavy subject material, and the light the show has shone on important issues, this show is less about its story than it is about the songs and the opportunities they give a cast of really skilled vocalists to sing them. And this cast sing the heck out of them.

The star of the show, for both me and my daughter, was Nikhil Saboo as Connor Murphy. Sullen and intimidating and scary in life, Saboo’s Connor as 21^st-century Jacob Marley is the exact opposite—providing a heavy show some of its lighter moments, especially when he leads Evan and a friend through the hilarious “Sincerely, Me.”

And Evan’s friends all get their moments, as well. Alaina Anderson’s Zoe Murphy transforms as the show goes on, much like Evan. And Pablo David Laucerica’s Jared and Micaela Lamas’ Alana bring both levity and humanity—both of them skilled character actors and both talented singers—as do John Hemphill and Lili Thomas as the Murphy parents.

But Coleen Sexton’s overworked and doing-her-best mother, Heidi Hansen, is perhaps the truest character, the heart of the play, looking in at others’ hurt while navigating her own, while navigating life. Maybe it’s me, as the dad there with his kid, but Sexton was the show’s heart and soul, and the show has a lot.

I’d be remiss if I didn’t mention the show’s musicians, visible above and behind David Korins’ screentime set. Garret Healey leads the orchestra through all of these wonderful songs, including beautiful cello by Tahirah Whittington and great guitar work by Matt Brown and Eric Stockton.

When I wanted so badly to see Dear Evan Hansen all those years ago, I had no clue how long I’d wait to see it. But the waiting made seeing this current production, playing at the James M. Nederlander Theatre through December 31, all the sweeter.