Items filtered by date: November 2007

I walked into Steppenwolf Theatre not really knowing what to expect when going to see their new play Noises Off. Turns out, admittedly, I have never heard of the comedic art of British Farce or the original 1982 play by English playwright Michael Frayn called Noises Off. My only goal when selecting this play was to laugh and enjoy my time. I can successfully say that I did laugh a lot, and I enjoyed my time, but it took some time to get there.

The comedy show, directed by Anna D. Shapiro is a play-within-a play with a cast acting as actors, backstage crew and the director of the show preparing for an upcoming play called ‘Nothing On’. The show begins with the opening scene of actress Dotty Otley playing Mrs. Clackett, a housekeeper who is answering the phone while the homeowners are away. This takes place during a late night dress rehearsal just hours away from their opening performance. As the rehearsal carries on, many issues arise amongst the actors and the director. Missed cues, wrong lines, broken doors and lost props drives the cast into a mess. Meanwhile, drama unfolds amongst the cast with secret relationships, personal problems, and the mounting pressure of getting the show right.

The beginning of the show feels a bit confusing, having little context as to what is going on. All of the characters enter on and off the stage, while carrying two identities between their actor character and their play character. This constant movement and character changes make it a bit challenging to follow. By the end of the first act, I got the gist of what was happening and who each of the characters were.

Act I of the show is about the horrendous dress rehearsal that sets the stage and gives you an inside look at the drama and affairs amongst the cast. Act II takes you backstage, where chaos erupts during their opening night performance. And Act III brings you back to the front stage with one of the final shows for the cast. Out of the three acts, Act III is by far the best. All of the preparation, failures, and drama reaches a climax with a dizzying final performance with everything that could go wrong in a play. I found myself laughing along with the majority of the crowd during Act III.

The Steppenwolf Theatre stage hosts the set of the ‘Nothing On’ play the actors are preparing for. The set is the inside of an old British home with a staircase and many, many doors waiting to be slammed. The stage smoothly rotates between acts as you move to the front and back stages. The stage design works well for the show and gives enough dimension to keep things interesting.

I am thoroughly impressed by the cast in this show. Each actor seamlessly switches in and out of their play characters without error. Most of them carry the British accents well, while others could finesse it a bit more. By the third act, the actors were flying off and on stage, changing props, exchanging lines and swapping characters rapidly. I felt my head spinning and was shocked by each actor’s ability to carry on at that pace.

Rick Holmes who plays the Director of the play named Lloyd brilliantly captures the God complex a stereotypical play director holds. He’s condescending, pessimistic and truly vain. Holmes is convincing in his role as the director, and he exudes the distasteful personality of a narcissistic director who gets inappropriately involved with his cast. Meanwhile the cast in the ‘Nothing On’ play is a mixed bag of over-confident, lackadaisical, overly emotional, and dramatic personalities. Each character has a unique personality, which is entertaining to watch as the drama unfolds.

One standout cast member is Andrew Leeds who plays Garry Lejeune and his character Roger Tramplemain. Leeds is a quirky actor who is confident in his role and questions the director on a few of his decisions. I found Leeds to be the most exaggerated character with ridiculous behavior and a very convincing fall down the long staircase. He is quick in his character’s actions and is hilarious in his lines. He seems experienced in all things farce comedy and effortlessly switches in and out of his Garry and Roger roles.

Izumi Inaba’s costume design for the show embraces the 70s era style for the ‘Nothing On’ play with bright vibrant patterns. Each costume accurately portrays the characters each of the actors were playing. Some of the costume pieces eventually become props in the show and work as comedy pieces.

This production runs approximately 2 hours and 40 minutes with two short intermissions. The show itself feels a bit long between the first two acts but quickly picks up speed by Act III. I recommend getting to the theatre early and grabbing a drink and a small snack at the front bar.

As mentioned before, this show is based on a British farce comedy and the touring production of a bedroom farce. Farce is a style of comedy that heavily relies on physical and sometimes violent humor and ridiculous highly exaggerated situations. This show is well suited for adults who are into slapstick comedy and find “Monty Python and the Holy Grail” funny. Not to mention this show is loud in parts. There is a lot of door slamming and the play is ironically named Noises Off. I found this show to be pretty funny as I picked up on farce humor. This show is truly chaotic, stressful, a tad confusing and just downright absurd in the best way.

Noises Off, a Co-Production with Geffen Playhouse, is now playing at the Steppenwolf Theatre Company located at 1650 N Halsted Street in Chicago. This show will run from September 12th to November 3rd. Showtimes include 7:30 p.m. Tuesdays-Saturdays and 3:00 p.m. Saturdays and Sundays. Single tickets for the show range from $20-$148 and are now on sale at steppenwolf.org and at the Box Office at (312)-335-1650.

The Tempest is Shakespeare’s final play, and one could argue that he saved the best for last, skillfully presented by Idle Muse Theatre Company. At intermission I overheard two young women expressing surprise at ‘how they can do so much in so little space!’  Clearly, they were habitues of traditional venues like the Goodman and Nederlander theatres, and I simply had to interrupt them to sing the praises of Chicago’s numerous and thoroughly excellent storefront theatres. As I’ve often said, theatre takes on a special glow when you’re watching from within the players’ pheromone clouds.

As with most of the Bard’s works, The Tempest uses many characters to enact a labyrinthine plot. Prospero (Elizabeth MacDougald ^she/her) is the former Duke of Milan, deposed and exiled with his infant daughter Miranda (Caty Gordon ^she/her) to this remote and (seemingly) uninhabited island, where he has raised his child while evolving himself into a powerful sorcerer. As the play begins Prospero is using his magic to create a raging storm to wreck the ship carrying the despots who usurped his dukedom: his conniving brother Antonio (Orion Lay-Sleeper^he/him), King Alonzo (Jack Sharkey ^he/him), with his son Ferdinand (Boomer Lusink ^he/him), and Uncle Tom Cobbleigh and all ….

When Prospero arrives on the island, he finds that, contrary to expectation, it is inhabited, by Caliban (Jennifer Mohr ^she/her), whom Prospero rescues from the spell previously laid on him. Unfortunately, Caliban retaliates this largesse with brutish behavior. Prospero, fearing Caliban’s conduct might injure the growing child Miranda, enslaves him.

Prospero meets yet another islander, Ariel, a cosmically powerful air spirit whom he frees from captivity. Ariel shows more gratitude than Caliban, protecting both Prospero and the child, now seventeen years old (but still, of course, an infant in her father’s eyes).  Ariel is also handy for whipping up tempests at sea and befuddling shipwrecked aristocrats. Director Brandon cleverly casts Ariel six times: Mara Kovacevic ^she/her, Gary Henderson^he/him, Connar Brown^she/her, Emely Cuestas^she/her, Jacque Bischoff ^she/her, and Emily Pfriem ^she/her. These six capering sprites are all equally adroit in the use of magic and music, and all beholden to Prospero for their … well, not actually freedom, as they’re still indentured to Prospero, but at least they’re no longer trammeled in a tree.

[Are you getting the idea that Prospero is a bit of a control freak (to use a common Shakespearian term)?]

Ariel(s) leads Ferdinand (the King’s son, remember?) to meet Miranda, and the two adolescents fall instantaneously, fervently and immitigably in love (as you do). Elsewhere on the island King Alonso, with his friend Gonzalo (Xavier Lagunas ^he/him), his brother Sebastian (Eric Duhon ^he/him), and Prospero’s insidious brother Duke Antonio are having vile and nefarious adventures whilst the heartbroken King searches for his son. Ariel(s) saved these folks from the sinking ship, but also made sure to bespeckle them far and wide across the island. Court jester Trinculo (Joel Thompson ^he/him) and his friend the King’s butler Stephano (Michael Dalberg ^he/him) fall in with Caliban, whom they woo with the barrel of wine Stephano serendipitously rode to shore from the wreck.

There! Got all that? I’ve by no means covered all Shakespeare’s storylines, threads, scenarios and subplots, but you can get those from Cliff’s Notes; I’m here to talk about all the other artists.

As is to be expected from Idle Muse, all were excellent. I admit I’ve come to rather take for granted that the talent on a [small!] Chicago stage will be extraordinary; in particular I trust Idle Muse not to disappoint me. From MacDougald’s Prospero to the six Ariels; from Boomer Lusink’s lordly Ferdinand to Orion Lay-Sleeper’s rascally Antonio, every character was enacted deliciously. Though the story began with darkness, rolling thunder and vast waves, humor began peeking through early, and by Act II we were all laughing.

Those who’ve been reading my reviews know that I don’t pretend to be fair and even-handed; I always have favorites!  In The Tempest my first and foremost fave was Ariel #2, Gary Henderson. His Ariel couldn’t help standing out on account of being the only cis-male Faerie (sic), but I really just liked his style – dancing about the stage with bells, on hands and knees barking at miscreants, snooping into secret plots … whatever Henderson’s Ariel was up to, he was a delight! I also loved Joel Thompson’s Trinculo; paired with Michael Dahlberg’s Stephano they were a swilling and snarfing version of Rosencrantz and Guildenstern, with terrific comedic timing.

Director Tristan Brandon ^he/him not only directed but adapted this production of The Tempest as well. In his splendid From the Director note he reminds us that The Tempest is about relationships and family, begotten and chosen.  The Tempest illustrates that, as humans can’t help being human, with human virtues and failings, the most critical aspect of relationships is forgiveness: we must be incessantly forgiving each other – and ourselves – for being human. Brandon’s Assistant Libby Beyreis ^she/her was also Violence Designer, appropriately, acknowledging the dichotomous but related aspects of violence and forgiveness. Balancing these was Maureen Yasko ^she/her as Intimacy Designer.

The set was perfect, spare yet evocative, under the combined attentions of Scenic Painter Breezy Snyder ^she/they with Scenic Designers Laura J. Wiley ^she/her and Tristan Brandon; these two, with Artistic Director Evan Jackson ^he/him, also designed the props, and Laura Wiley ^she/her brought the puppets to life.

[BTW, I hope you’re noticing names being repeated. When a relatively small company is mounting grandiloquent and multidimensional productions (like anything by Shakespeare!), considerable multitasking is required. Thus one sees much overlap, as well as inclusion of cast members, in Production.]

I was enchanted by Jennifer Mohr’s ^she/her costumes and Jacque Bischoff’s ^she/her makeup. The Ariels were captivating with twinkle-lights under tulle skirts and transcendental makeup. Prospero’s magical coat was stunning, and I loved that many of the costumes had corset-style lacing in back; creates such a sense of glamorous antiquity (ancient glamor? whatever)! Trinculo sported mismatched socks, with dissimilar shoes as well. The core values of Idle Muse Theatre Company are True, Timely, and Transporting; between them Mohr and Bischoff made each character totally True.

The same can be said for Laura J Wiley’s ^she/her Lighting Design which, with Kati Lechner ^she/her directing L.J. Luthringer’s ^he/him sound and music compositions, created a multisensory domain accordant with all the disparate scenes, from a raging storm to a quiet family home and to the Ariel(s)-bewitched wildwood, certainly fulfilling the core value of Transporting. Much of this I attribute also to Stage Manager Becky Warner ^she/her and her Associate Lindsey Chidester ^she/her. Pulling all these diverse variants together into a smooth, tangible, inclusive Truth can only happen when excellent direction of a superlative cast is so masterfully Managed as to unite all elements.

Idle Muse’s third core value is Timely, and what could be timelier in the American election year of 2024 than a production that transports us to the Truth? It’s tempting to draw comparisons between fictional and political characters, but it’s unnecessary. The Tempest’s fundamental, essential message is about forming and maintaining relationships: between parents and children, teachers and students, leaders and followers. Forming and maintaining relationships is basic, but never simple, and always requires mutual and correspondent forgiveness.

I recently encountered a new word that I like very much: Ubuntu, or ‘I am because we are’. This term originates from the Zulu and Xhosa languages, and it loosely translates to ‘humanity towards others’. In honor of Bilbo’s and Frodo’s birthdays (as well as my own!), I offer it here in Elvish (Ariel-ish?) Tengwar script:

The Tempest is 2½ hours long, including one intermission.

The Tempest plays at The Edge Off-Broadway through October 20; last nights’ performance was sold out so I VERY Highly Recommend you get your tickets early!

Chicago Shakespeare Theater (CST) presents the Royal Shakespeare Company (RSC)'s Pericles, direct from a "triumphant" (The Telegraph) run at the company's home in Stratford-upon-Avon, UK. One of the world's preeminent theater companies, the RSC returns to Chicago for the first time in 30 years as part of a new, ongoing partnership with CST.

Tamara Harvey directs this major new production of Shakespeare's moving tale in her and Daniel Evans' first season as the RSC's co‑artistic directors. The Guardian raved about the UK premiere, "Pericles could not have been done better." This exclusive engagement runs October 20–December 7 in the Courtyard Theater, marking CST's 100th international production bringing the world's great artists to Chicago.

When Prince Pericles solves a riddle set by the neighboring King, he knows the answer could get him killed. Fleeing for safety, he finds himself swept away on an epic voyage that will see him battle princes, marry his true love, and become a father. But this is also a journey of storms and shipwrecks, abduction and devastating loss. Adrift in an ocean of grief, will Pericles ever see his family again?

"It is a huge pleasure to be bringing the Royal Shakespeare Company back to Chicago for the first time in 30 years with this most timely and beautiful production of Pericles," said CST's artistic director Edward Hall. "The inaugural production as co‑artistic director from Tamara Harvey is a rare opportunity for audiences to immerse themselves in this thought-provoking and wise story brought to life by an exceptionally talented company. This marks the beginning of a partnership between the RSC and CST in an expression of the shared passion for Shakespeare long held by us, Tamara Harvey, and Daniel Evans."

Harvey shared, "As I stepped with excitement and trepidation into the rehearsal room to create this, my RSC debut, I wouldn't have dared hope that the experience could be so joyful and creatively exhilarating. This company of actors is extraordinary, and we are thrilled to welcome Zach Wyatt as Pericles for the next leg of our journey together, whose professional debut—a very Pericles-like note of connection and reunion—was with Ed Hall when he was artistic director of Hampstead Theatre in London."

She continued, "Sharing this lesser-known Shakespeare with audiences in Stratford‑upon‑Avon has confirmed our belief that Pericles' perennial relevance is compelling, with its examination of leadership, endurance, loss, and hope. We can't wait to share this beautiful play with Chicago Shakespeare Theater's audiences as together we start to write the next chapter in the centuries-old story of collaboration between our two nations."

Zach Wyatt leads the cast of the Chicago engagement in the title role of Prince Pericles. Wyatt has been seen onstage in the West End production of A Little Life, Bartholomew Fair and The Merry Wives of Windsor at The Globe, Wild East at the Young Vic, and I And You at Hampstead Theatre. His television and film credits include The Witcher: Blood Origin, Timestalker, and Blithe Spirit.

The company also includes Miles Barrow (Thaliard/Boult), Philip Bird (Helicanus), Jacqueline Boatswain (Cerimon/Bawd), Rachelle Diedericks (Marina), Chyna‑Rose Frederick (Antiochus' Daughter/Lychorida/Diana), Sasha Ghoshal (Ensemble), Leah Haile (Thaisa), Felix Hayes (Anitochus/Pander), Kel Matsena (Lysimachus), Miriam O'Brien (Ensemble), Emmanuel Olusanya (Ensemble), Chukwuma Omambala (Cleon), Sam Parks (Escanes, Leonine), Christian Patterson (Simonides), and Gabby Wong (Dionyza).

Joining Harvey on the creative team are Jonathan Fensom (Set Designer), Kinnetia Isidore (Costume Designer), Ryan Day (Lighting Designer), Claire van Kampen (Composer),Claire Windsor (Sound Designer), Annie‑Lunnette Deakin-Foster (Movement Director), Charlotte Sutton CDG (Casting Director),Elinor Peregrin (Music Director), Tess Dignan (Voice and Text), Francesca Murray-Fuentes (Associate Director), Zoë Thomas‑Webb (Associate Costume Designer), and Juliano Zaffino (Textual Consultant).

The press opening for Pericles is scheduled for Friday, October 25 at 7:00 p.m. 

More information at www.chicagoshakes.com/pericles or on social media at @chicagoshakes.

Pericles

By William Shakespeare
Directed by Tamara Harvey
October 20–December 7, 2024
Courtyard Theater

PERFORMANCE LISTING

• Tuesdays at 7:00 p.m. (except November 12 and 19)
• Wednesdays at 1:00 p.m. and 7:00 p.m. (no matinee on October 23 and no evening on November 27)
• Thursdays at 7:00 p.m. (except November 28)
• Fridays at 7:00 p.m. 
• Saturdays at 2:00 p.m. and 7:00 p.m.
• Sundays at 2:00 p.m. (additional performances at 6:00 p.m. on October 20 and 7:00 p.m. on December 1)

Chicago Shakespeare strives to make its facility and performances accessible to all patrons. Accessible seating, assistive listening devices, large-print and Braille programs, and sensory tools are available at every performance. Enhanced performances include:

• Audio-described performance with optional touch tour – Sunday, November 17 2:00 p.m.
  A program that provides spoken narration of a play's key visual elements for patrons who are blind or have low vision. Touch Tours provide patrons the opportunity to experience, firsthand, a production's design elements.
• Open captioning – Wednesday, November 20 at 1:00 & 7:00 p.m.
  A text display of the words and sounds heard during a play, synced live with the action onstage.
• Projected Spanish translated performance - Thursday, November 21 at 7:00 p.m.
  A text display of the words of the play, translated into Spanish, synced live with the dialogue.
• ASL interpreted performance – Friday, November 22, at 7:00 p.m.
  All dialogue and lyrics are translated into American Sign Language by two certified interpreters

I am delighted that Northlight Theatre chose to produce The Flying Lovers of Vitebsk, penned by Daniel Jamieson and expertly staged and directed by Elizabeth Margolius, especially given the alarming rise of antisemitism currently sweeping the country.

The Flying Lovers of Vitebsk is a play that tells the love story of the famous Jewish artist Marc Chagall born Moishe Shagal and his wife, writer Bella Rosenfeld. Set against the backdrop of early 20th-century Vitebsk, the narrative explores their relationship as they navigate significant historical events such as the Pogroms, the Russian Revolution, and the rise of fascism in Europe. Marc Chagall, a renowned painter born in the small town of Vitebsk, where he met his wife Bella, lived to the age of 97. Such a ripe old age, despite the harrowing events depicted in the play, where he and Bella flee the brutal pogroms in Russia and the Nazi atrocities in Europe, Chagall’s resilience and longevity stand out. The play masterfully intertwines dance and music along with gripping dialogue to narrate the couple’s journey through some of the most turbulent periods of the 20th century, leading up to the Nazi occupation of France while focusing on the couple’s strong relationship and strength. 

Jack Cahill-Lemme portrays Chagall with a focused optimism and an unwavering devotion to his Jewish bride, Bella, capturing the essence of love at first sight from their very first encounter. As Cahill-Lemme follows and admires Bella moving across the stage, his unwavering pursuit of her love is evident. His character’s elegant movements, captivating smile and dreamy expression reveal that his attention is entirely devoted to her. Cahill-Lemme’s longing  gaze envelops Bella, reflecting his profound love, devotion, and undeniable attraction. Interestingly, during their first encounter, he asked her to pose nude for him, a common practice among painters of that era. Jack Cahill-Lemme is a rising star who was most recently seen on Broadway in the National Tour of Moulin Rouge alongside Boy George and has taken on roles at Marriott Theatre and Paramount Theatre among many other Chicagoland theaters. Rosenthal has also made her mark in the theater world, appearing at Drury Lane Theatre, Steppenwolf Theatre and Writers Theatre.

Emma Rosenthal portrays Bella, the love of Chagall’s life with a tremendous amount of energy and childlike wonder. Her character is a fiery, headstrong, and intelligent woman deeply in love and devoted wholly and joyously to her passionate and genius husband, and their child. Rosenthal’s performance radiates with the spirited energy of a Jewish woman who has found both her true love and her destiny as his inspiration, especially evident in their numerous dance numbers and songs together. 

It was fascinating to see that instead of using the stained glass painting of the flying lovers as a backdrop, the simple yet modern set allowed each dance number between the two lovers to evoke the painting’s uplifting joy and the lifelong physical attraction that inspired the most famous painting by Chagall of all time.

The live music for the show, performed by musical director Michael Mahler and Alyssa Carlson, featured a mix of new and old instruments, including the piano. Their performances added depth to the many wonderful song and dance numbers, which were delivered in various languages, including Yiddish, Russian, French, and English, creating a powerful emotional impact.

Marc Chagall was ahead of his time in many ways and faced rejection in his Russian homeland despite his worldwide acclaim as a pioneer of the art movement now known as Impressionism.

Under the guidance of Artistic Director BJ Jones, The Flying Lovers of Vitebsk captivates audiences with its compelling narrative that holds their attention from start to finish. The production is brought to life with its talented cast along with music by Ian Ross, stage and movement direction by Elizabeth Margolius, and musical direction by Michael Mahler.

I highly recommend this beautiful, moving, and joyful 80-minute one-act production for audiences of all ages. It offers a wonderful opportunity to learn about Jewish history and the arts in a setting that celebrates the relationship between artist and muse.

The Flying Lovers of Vitebsk is being performed at Northlight Theatre in Skokie through October 6th. For tickets and/or more show information, click HERE. 

Kokandy Productions is pleased to conclude its 2024 season with an immersive production of Stephen Sondheim and James Lapine's classic Into The Woods, the first Chicago storefront production of the beloved musical in over a decade. Directed and choreographed by Producing Artistic Director Derek Van Barham with music direction by Nick Sula, Into The Woods will play October 10 – December 22, 2024 at The Chopin Studio Theatre, 1543 W. Division St. in Chicago. Tickets are now on sale at kokandyproductions.com. 

Journeying Into The Woods are Kevin Webb and Sonia Goldberg as The Baker and The Baker's Wife, Stephanie Stockstill as The Witch, Madison Kauffman as Cinderella, Kevin Parra as Jack and Anna Seibert as Little Red. Pulling double (or more) duty are August Forman as Narrator/Mysterious Man, Shea Hopkins as Cinderella's Prince/Wolf, Makenzy Jenkins as Rapunzel's Prince/Steward, Ismael Garcia as Rapunzel/Florinda, Britain Gebhardt as Jack's Mother/Lucinda and Emily Goldberg as Cinderella's Stepmother/Mother. The company of players is completed by swings Gabby Koziol, Jackson Mikkelsen, Halli Morgan, Michael Penick, Julie Peterson, Elizabeth Rentfro and Evan B Smith.

Escape into a fantastical fairytale adventure where wishes come true, but not always for free. A trove of storybook characters' paths intertwine as they chase their deepest desires through an enchanted forest. However, once they receive their happily ever after, the unintended consequences of granted wishes unravel their worlds.

Weaving a euphoric score including the songs "Giants in the Sky," "On the Steps of the Palace," "No One Is Alone" and "Children Will Listen" with a darkly humorous book, Into the Woods is a sophisticated musical twist on beloved childhood fables.

"What will we find when we wander into these woods?" asks director and choreographer Derek Van Barham. "A company of players, a beloved musical and a little magic. Our hope is that by re-orchestrating for 2 pianos and a cast of 12 (half of them doubling) we can focus on the intimate and immersive nature of the show, capturing the desperate need to be seen, to be remembered and to gather together to share (and receive) a good story."

Music Director Nick Sula adds, "Many of the characters in this musical are introduced in pairs - The Baker and The Baker's Wife, Jack and Little Red, the two Stepsisters, the two Princes - so it felt natural to include the music, the musicians and the instruments themselves as a mirror of that. Our team of three pianist/orchestrators collaborated to create a unique sound with a two-piano, four-(or more!)-hand approach that features a duo of acoustic grand pianos. We are delighted to share the full depth and breadth of Stephen Sondheim's music with our audiences in this hauntingly majestic and intimate re-imagination." 

The production team includes G "Max" Maxin IV, (Scenic Design and Lighting Design), Rachel Sypniewski (Costume Design), Matt Reich (Sound Design), Mike Patrick (Sound Consultant), Jakob Abderhalden (Properties Design), Chels Morgan (Intimacy Choreographer), Syd Genco (Makeup Design), Keith Ryan (Wig Design), Ariana Miles and Evelyn Ryan (Orchestrators), Nicholas Reinhart (Production Manager), Shane Roberie (Casting Associate), Lynsy Folckomer (Sound Engineer), Ryan Stajmiger (Assistant Director), Kendyl Meyer (Stage Manager), Ethan Colish (Assistant Stage Manager).

PRODUCTION DETAILS:

Title: Into The Woods

Book by James Lapine

Music and Lyrics by Stephen Sondheim

Directed and Choreographed by Producing Artistic Director Derek Van Barham

Music Direction by Nick Sula

Cast (in alphabetical order): August Forman (Narrator/Mysterious Man), Ismael Garcia (Rapunzel/Florinda), Britain Gebhardt (Jack's Mother/Lucinda), Emily Goldberg (Cinderella's Stepmother/Mother), Sonia Goldberg (The Baker's Wife), Shea Hopkins (Cinderella's Prince/Wolf), Makenzy Jenkins (Rapunzel's Prince/Steward), Madison Kauffman (Cinderella), Kevin Parra (Jack), Anna Seibert (Little Red), Stephanie Stockstill (The Witch) and Kevin Webb (The Baker).

Swings: Gabby Koziol, Jackson Mikkelsen, Halli Morgan, Michael Penick, Julie Peterson, Elizabeth Rentfro and Evan B Smith. 

Musicians: Ariana Miles (piano) and Evelyn Ryan (piano).

Location: The Chopin Studio Theatre, 1543 W. Division St., Chicago

Dates: Previews: Thursday, October 10 at 7 pm, Friday, October 11 at 7 pm, Saturday, October 12 at 7 pm, Sunday, October 13 at 5 pm, Monday, October 14 at 7 pm, Sunday, October 20 at 5 pm, Monday, October 21 at 7 pm, Thursday, October 24 at 7 pm and Friday, October 25 at 7 pm

Press performance: Saturday, October 26 at 7 pm

Regular run: Sunday, October 27 – Sunday, December 22, 2024

Curtain Times: Thursdays, Fridays and Saturdays at 7 pm; Sundays at 5 pm. Please note: there will be added performances on Wednesday, November 27 at 7 pm and Monday, December 9 at 7 pm; there will not be a performance on Thursday, November 28 (Thanksgiving).

Tickets: Previews $25 (with code PREVIEW). Regular run $45 general admission, $55 reserved seating. Students/Seniors $35. There will be a limited number of $15 tickets (with code ARTIST) available to artists for each performance. Tickets are on sale now at kokandyproductions.com.

About the Artists

Derek Van Barham (Director/Choreographer, he/him) is the Producing Artistic Director of Kokandy Productions. Directing credits include Children of Eden in Concert (Broadway In Chicago), Spring Awakening (Flint Rep); Sweeney Todd, American Psycho and Head Over Heels (Jeff Awards and Jeff nomination, Kokandy); The View Upstairs (Circle Theatre); Miracle by Dan Savage, Poseidon (Hell in a Handbag). Choreography credits include Evil Dead (Jeff nomination), Coraline the Musical, Ghost Quartet, Shockheaded Peter and Coraline the Musical (Black Button Eyes). He was previously named one of Windy City Times' 30 Under 30, and one of Newcity Magazine's 50 Players 2024. MFA: CCPA/Roosevelt University. derekvanbarham.com | IG @dvbarham

Nick Sula (Music Director and Orchestrations, he/him) is an award-winning pianist, arranger and music director. Music Direction credits include the Jeff Award-winning production of Sweeney Todd with Kokandy Productions, for which he earned the Jeff Award for Outstanding Music Direction; Anything Goes with Porchlight Music Theatre [Jeff nomination]; Ghost Quartet [Jeff nomination], Nevermore, Amour, Coraline (Black Button Eyes Productions); Myths & Hymns, The Glorious Ones [Jeff nomination], Pippin (BoHo Theatre); His & His, Boys in Briefs, Broadway at the Broadway (Pride Films and Plays); Merrily We Roll Along, Head Over Heels, The Pajama Game, The Pirates of Penzance (CCPA). Nick can be heard performing with vocalists at theaters and cabaret venues around Chicagoland such as Davenport's Piano Bar and Skokie Theater. As a professor of musical theatre he serves as a music director, instructor and vocal coach at the Chicago College of Performing Arts at Roosevelt University.

About Kokandy Productions

Founded in 2010, Kokandy Productions seeks to leverage the heightened reality of musical theatre to tell complex and challenging stories, with a focus on contributing to the development of Chicago-based musical theatre artists, and raising the profile of Chicago's non-Equity musical theatre community.

The company's artistic staff is comprised of Derek Van Barham (Producing Artistic Director), Scot T. Kokandy (Executive Producer) and Adrian Abel Azevedo & Leda Hoffman (Artistic Associates). The Board of Directors includes Preston Cropp, Scot T. Kokandy, Danielle Sparklin and Katie Svaicer. 

For additional information, visit www.kokandyproductions.com. 

I was skeptical when I learned that Court Theatre was staging "East Texas Hot Links." The Pulitzer prize nominated play first debuted in Chicago at Onyx Theatre Company in 1995, with subsequent productions in 1998 and a recent one at Writers Theatre in 2019. Although it’s not rare for a play to receive so many renditions, interestingly enough, each production has been directed by Ron O.J. Parsons, who has kept basically the same cast since its premiere. This piqued my curiosity enough that I felt compelled to see the show for myself. After the performance, fellow theatergoers shared this was the finest version of the play they had seen. I would have to agree. This production had me tingling from start to finish.

Court Theatre's production of Eugene Lee's East Texas Hot Links, directed by Ron O.J. Parsons, is an electrifying, poignant reminder of the harsh realities of life for Black communities in the segregated South, in this case East Texas, during the 1950s. Under Parsons' skillful direction, this production transforms Lee's taut, suspenseful character study into a deeply immersive experience that brims with tension, emotion, and tragedy.

Set in a small, rural Texas café, East Texas Hot Links offers a snapshot of a Black community's attempt to survive in a world where racial violence and oppression are omnipresent threats. The café, owned by the strong-willed Charlesetta (played by AnJi White), serves as a sanctuary for the local Black men—blue-collar workers who gather to talk, joke, and seek refuge from the dangers outside. However, as the play progresses, the audience senses the mounting tension, and it becomes clear that this safe space is not immune to the violence brewing in the surrounding white community.

AnJi White's portrayal of Charlesetta is  beautifully compelling. White brings strength, warmth, and an underlying vulnerability to the role, making Charlesetta the emotional core of the community. She commands the café with authority, yet her fear for the safety of her patrons is palpable. White’s performance is a delicate balance of resilience and fear, making her final moments on stage all the more heartbreaking.

Juwan Lockett imbues XL Dancer with an air of mystery, leaving the audience constantly questioning his motives. Lockett masterfully conveys a sense of an underlying threat simmering beneath XL’s surface, keeping the audience on edge. The other characters' scrutiny of XL only adds to the intrigue, with Lockett's performance subtly hinting at hidden depths and secrets the character may possess.

David Dowd's depiction of Delmus Green vividly captures the essence of youthful optimism amidst severe societal challenges. His naivety and idealism are clearly evident in his expressions, bringing a tangible sense of hope to his character. When faced with the reality of his situation, his body and expressions change and it’s a beautiful arc.

Geno Walker's portrays Buckshot as a formidable intimidating character who both commands respect and instills fear within the community. Beneath his tough exterior, however, lies a deep loyalty to his friends and family, as well as a profound concern for the well-being of his fellow community members.

Veteran actor Alfred Wilson excels in the role of Columbus Frye, portraying him as the entrepreneurial spirit of the group. A.C. Smith also delivers a standout performance as Boochie Reed, the town's soothsayer, infusing the character with a mystical, almost prophetic presence that lends an air of foreboding. Wille B shines as Adolph, the blind man whose insight seems boundless, and Kelvin Roston captivates as Roy Moore, adding further depth to this talented ensemble.

The technical elements of the production further heighten the atmosphere of dread and tension. Jack Magaw’s scenic design transforms the stage into an authentic, intimate Texas café, with every detail—from the worn wooden floors to the shabby advertisements on the wall —helping to create a lived-in, familiar environment. The set is both a haven and a trap, capturing a sense of characters hemmed in by the world outside.

Christine Pascual and Janice Pytel’s costume design provides a vivid glimpse into the characters' personalities and statuses, grounding the story in its 1950s setting with period-appropriate clothing that feels organic to each character. Jason Lynch’s lighting design works in tandem with the narrative’s rising tension, using flashing lights and stark contrasts to build suspense to signal the looming danger.

Special effects consultant Jim Guy’s work, especially as firearms coordinator, is crucial in creating the shocking, violent moments that punctuate the play’s climax. The sound of gunshots and the chaos they cause feel visceral, jolting the audience and underscoring the immediacy of the threat.

Ron O.J. Parsons’ direction weaves all of these elements together into a cohesive, gripping production that pulses with energy and urgency. His direction is meticulous, allowing the audience to feel the characters’ emotional and physical entrapment while slowly ratcheting up the tension until it reaches a boiling point. The sense of dread that builds throughout the play culminates in a devastating and powerful finale that leaves the audience shaken.

Court Theatre’s East Texas Hot Links is a searing and unforgettable production that captures the complex dynamics of community, race, and survival. The combination of outstanding performances, atmospheric design, and Parsons’ expert direction makes this a must-see theatrical experience. Regardless of how many times you’ve seen it before…see this now!

Highly recommended

When: Through Sept. 29

Where: Court Theatre, 5535 S. Ellis Avenue

Running time: 90 minutes

Tickets: $58 - $90.00 Student, Group and military discounts available

773-753-4472

www.Courttheatre.org

I chose to review LIGHT SWITCH because the play sounded intriguing, and also because every production I’ve seen at Open Space Arts (OSA) has been excellent. OSA can be relied upon to deliver thought-provoking, enlightening and captivating pieces played by super-talented actors. LIGHT SWITCH was no exception.

LIGHT SWITCH tells the story of Henry, an autistic gay man, across a span of twenty years; the chronicle is both sidesplitting and heartrending. Phillip Andrew Monnett plays Henry in his journey from a taunted and ridiculed child to a PhD student (19th century English literature, to be precise). His dorm roommate Rogie (Henry DelBello) urges him to parties where he’ll meet men; and Rogie’s right; Henry meets several men, [all depicted by Dylan McCumber], none of whom Henry finds suitable except Joseph, played by Peter Manuel Young. Flashbacks help to flesh out Henry’s character by providing insight into Henry’s upbringing, and Hilary Hensler was awesome as his mother Marian.

Playwright Dave Osmundsen is himself autistic, and LIGHT SWITCH presents an accurate and sympathetic portrayal of autism. The scenes depicting the inadvertently devastating reactions of his well-meaning but exasperated mother were as excellent as they were wrenching. Unlike too many representations of autistic people (I’m looking at you, Sony Picture’s The Good Doctor), LIGHT SWITCH avoided many of the tired stereotypes about autistic people, while faithfully sketching many genuine traits … though we must remember that autistic people are not cookie-cutter concordant! For example, Henry’s obsession with Victorian literature is unique, but his penchant for replication is fairly common among autistic people, which we see in his repetition of certain phrases and in ways that overlap with his unique obsession, like having 18 copies of Wuthering Heights.

Monnett was spectacular in the extensive and challenging role of Henry. He deftly maintained the rigid behaviors that are typical of autism while allowing us to follow Henry’s growth as a character. Through Osmundsen's script and Monnett's portrayal, we get to see Henry experience a full range of emotion, from subtle to expansive, something that is rarely afforded to autistic characters but is absolutely part of the experience of autistic people. I attended this show with an autistic friend and there was one scene where this portrayal of emotion didn't quite ring true for them. During the pivotal argument between Rogie and Henry, Henry's emotional state changes quickly multiple times - from anger to curiosity to sadness to decisiveness. It would be more typical for someone with autism to remain in the same emotional state throughout, but here the action of the script dictated moving the story forward a bit more rapidly.

Henry DelBello’s Rogie was purely delightful. Rogie’s steadfast devotion to Henry throughout their seven years together was depicted with poignant authenticity. DelBello gave Rogie a spontaneity and vivacity that brightened the stage with each appearance. I’m usually obnoxed by scenes of drunken rambling, but DelBello never allowed me to feel anything but affection for Rogie. For his part, Peter Manuel Young played the complex character of Joseph admirably. His “promiscuity” was balanced by his obvious fondness for whatever man he was currently making advances towards.

I’m always impressed by how well OSA’s tech crews manage within the teensy stage space available at Open Space Arts! I also noted that they created stadium-style seating by placing folding chairs in front, desk chairs in the second row, and counter stools at the back – so clever! But getting back to the production crew: Michael D Graham directed (with Assistant Shakir Methune), and they did an amazing job, particularly with blocking out the movements of actors and set pieces.  

That being said, I thought the set change blackouts in Act 1 were too frequent; this might have been alleviated by working with Set Designer Rick Paul to minimize the furniture. Less pieces to move about, as we saw with the transitions to and from the Cabin set, would smooth out the action. The books in the background were important to reflect the intense but narrow scope of Henry’s erudition, but beyond that the set only really required those pieces where the actors needed to sit or lie down. That’s my fondness for the minimalist approach to set design talking, but shorter and fewer complex set rearrangements would definitely mitigate the choppiness that distracted me throughout Act 1.

Intimacy Director Greta Zandstra had their work cut out for themselves, as intimacy was a critical issue for Henry. Zandstra did a fine job of balancing Henry’s general fluency with gay sex against his individual disinclination for physical touch. Rogie’s influence was certainly key in this sphere!

A play entitled LIGHT SWITCH could have supported many interesting possibilities for Lighting Designer Justin Walker, but they chose to stick to the basics, and it worked fine. Costume Designer Adie Sutherland had more limited scope to work within, but Rogie’s underpants were terrific! Alex Kingsley’s music was both powerful and plausible. And last but not least: kudos to Stage Manager Joey Bluhm and Producer David Zak.

The term ‘neurodivergent’ was introduced in the early 90’s as an alternative to deficit-based language, e.g. “disorder.” The neurodivergent paradigm is based on the idea that autism and other developmental conditions are differences to be embraced, rather than diseases to be cured.  Thus “neurodiversity” may refer to all people because everyone has a unique way of processing information. To neurodiversity proponents, people are disabled because they are at the edges of the bell curve, not because they are sick or broken. Controversy has arisen among disability advocates, some of whom argue this risks downplaying the suffering experienced by some autistic individuals, and normalizing things some might want treatment for.

The neurodiversity movement emerged largely via online interaction, as the Internet’s design was compatible with the needs of many autistic people. Within the scientific community, autism research may sometimes be too eager to interpret differences as deficits, though a focus on masking autistic traits may be ethically questionable, as some recent studies associate excessive masking with poor mental health, even suicide. The neurodiversity movement attempts to keep autism and its like away from the ‘pathology paradigm’. Stigma against neurodivergence (especially against autism) can severely hinder an individual's ability to perform well in the education system and the workplace.

I heartily celebrate the increasing recognition and understanding of neurodiversity, where the arts provide a critical canvas with plays like LIGHT SWITCH. I’ve learned from seeing the play and discussing it with my autistic companion. The mission of Open Space Arts is to “foster inclusivity, promote understanding, and empower marginalized communities … through the transformative power of creativity and cultural expression”. You certainly accomplished that here, OSA!

LIGHT SWITCH plays at OSA through September 29. I strongly recommend you check it out!

*Extended through October 13th

It’s the top of Act IV, and King Harry (Elijah Jones) stands alone on stage. The lights are dim – save for a spotlight, leaving the surrounding empty benches in shadow. His soldiers have all exited, each more excited than the one before him as they run off to battle against the French. Harry is left with nothing but his thoughts. With a long, deep breath, he takes a moment to pray. As he kneels down in the darkness, he whispers:

“O God of battles! steel my soldiers' hearts;
Possess them not with fear; take from them now
The sense of reckoning, if the opposed numbers
Pluck their hearts from them.”

 Up until this point, we have witnessed countless speeches from Harry. At every turn, he is ready to inspire his soldiers – his friends as he calls them, preparing them with the hope they require to go fight on his behalf. However, in this moment, we see something different. As Jones stands alone, we see a new physicality take form – one filled with vulnerability and fear. You might find that in this moment, like for me, the story shifts. Harry has carried an impressive, heroic air throughout. However, in this scene, he finally feels human. The language felt so heightened but suddenly, there’s something a little more relatable. He finally has something to lose. If you’re anything like myself, you might feel yourself leaning in - almost worried to see what danger befalls him with what is to come.

Directed by Artistic Director Edward Hall, William Shakespeare’s history play follows King Henry V, or Harry, (Elijah Jones), as he leads his army to invade France. Full of some of Shakespeare’s most famous speeches, the play explores what makes a king, as well as what obstacles might stand in the way – even if they are brought on by the individual himself. Hall’s talented ensemble brings this theme to life as we watch them bond and grow over the course of the story. In contrast to France, Harry’s army is meant to have everything standing against them – from experience to literal numbers. However, Harry’s ability to inspire carves a path forward, and we see how a natural gift like language can help a king survive.

As much as Shakespeare’s play can be one of hope, there is also a darker side as we see the ramifications of the seduction of war – one that Hall and Music Director Jon Trenchard cleverly highlight through live music.  

The play itself carries a highly serious tone. The lighting overall is quite dark, with a muted set as we settle into England’s army base (filled with impressive detail from Scenic Designer Michael Pavelka that consumes Chicago Shakespeare’s Yard Theater). Sound Designer Emily Hayman does not hold back with the war scenes – successfully immersing the audience in the fear surrounding the soldiers on stage. Particularly with the heightened language of Shakespeare’s text, the production feels as if it will be clouded in death and all that comes with it.

Then, in a key moment, the notes of The Clash’s “London Calling” starts to play. The musicians on stage come forward as Lighting Designer Marcus Doshi fills the stage with flashes of pink and red. The soldiers – all quite solemn to this point, begin to jump and dance as they yell the lyrics with the musicians. The vibe quickly shifts to one of a rock concert. Looking around at the guests surrounding me for this Opening Night performance, it was clear the audience was just as excited – especially as they danced along in their seats. This was only the first of many musical interludes, and each was met with more excitement than the last.

Henry V can be quite heavy. The story of a young king forced to grow up too quickly as he rounds up his soldiers to fight on his behalf is not easy. While poetic, Shakespeare’s series of extended monologues could make this history a tougher one for folks who are less used to his work. However, with the incorporation of the music and tonal shifts, Hall and his team do their part to ease in the audience. You might find that breaking up the text in this way allows you to catch your breath, recalibrate, and prepare yourself for the next stage of the journey.

Impeccable design and cleverly crafted, Henry V makes for an accessible entry point to Shakespeare’s histories. Hall is still new to his position, but he is certainly one to keep an eye out for.

Henry V runs through October 6 at Chicago Shakespeare Theater – 800 E Grand Avenue. Check out Chicago Shakespeare Theater’s website for tickets and information. 

RECOMMENDED

“Gonna have to study up a little bit if you wanna keep up with the plot ‘cause it’s a complicated Russian novel,” so says the prologue in Writers Theatre’s Chicago premiere of ‘Natasha, Pierre & the Great Comet of 1812’. Don’t let the complicated Russian novel part scare you off because Dave Malloy’s unique take on Leo Tolstoy’s classic ‘War & Peace’ is anything but a living book report. It’s a serious breath of fresh air for musical theatre as a genre.

Nominated for an impressive amount of Tony Awards in 2017, including Best Musical and Best Musical Score, ‘The Great Comet’ was a smash hit to say the least. It’s not often you see a line queued up for a musical adaptation of a very long book, the other most notable being ‘Les Miserables’ in the 1980s. And just like ‘Les Miz’, the playwright has done a lot of trimming to ensure a normal two and a half hour running time. Instead of utmost faithfulness to the source material (as is the case with ‘Les Miz’), Malloy turns the period piece musical on its head. 

‘The Great Comet’ is a chamber opera, in that every line of dialogue is sung-through and the songs further the plot, hence the prologue. What’s really interesting about this particular adaptation is that for one, you do not need to have any familiarity with Tolstoy’s behemoth novel in order to be dropped into the middle of the book. ‘The Great Comet’ is but a small section of the book, but it is arguably one of the most interesting parts of the novel. Dripping with juicy soap opera subplots as well as the richly drawn interior lives of the characters, something Tolstoy was quite adept at. This show also wouldn’t spoil the overall plot of the novel as it leaves some plot points open-ended that are later solved in the novel.

Natasha (Aurora Penepacker) is engaged to Andrey (Matthew C. Yee) who is at the front fighting in the Napoleonic war. For safety’s sake she’s living with her soon-to-be in-laws in Moscow and for the first time in her life seeing the big world and all its temptations. When she meets dashing, but wicked Anatole (Joseph Anthony Byrd), she begins a risky affair that could threaten her future.

Writer’s Theatre’s production is one of the first major revivals since the original Broadway production and under Katie Spelman’s direction, it’s an absolute delight from beginning to end. When the curtain comes down on the first act, you’ll be immediately craving more. More of the music, more of the incredible voices and more of the heartrending music that cuts to the core of what it means to love.

This production culls together some of Chicago’s most formidable singers and actors including Bethany Thomas in the role of Marya (Natasha’s guardian) who gives one of the most electrifying performances of the evening. Not to be outdone, playing Nathasha’s best friend Sonya, Maya Rowe has likely the evening’s best solo with the song ‘Sonya Alone’. Aurora Penepacker does Tolstoy’s vision of the innocent Natasha more than justice, her song ‘No One Else’ provides the first pang of emotion. Though, don’t count Bri Sudia out as Pierre’s philandering wife Helen. She’s delivering pure musical theater magic all night. 

Spelman’s aesthetic for this production moves this musical from the black box to the opera house. Grand in scale, but still intimate. There’s a certain Baz Luhrmann quality to the costumes and the staging, and along with the modern pop soundtrack creates a very satisfying product. It just feels cool.

What will make this niche show continue to prosper in revivals is the music itself. Sophia Copola might be the godmother of putting modern music into period pieces, but Dave Malloy is doing more than just borrowing familiar tunes from his youth. The soundtrack feels like the first truly relistenable soundtrack in decades. Not a bit of the saccharine jukebox music with throw-away lyrics here. And though there is a musical through-line, what this show really benefits from is the unexpected diversity of unique sounding songs. Each song becomes its own world in a way that most modern musicals fail at. It feels like a harken back to the Sondheim era of musical theatre.

‘The Great Comet’ is the perfect musical for people who say they hate musical theatre. At the risk of saying “steampunk”, it’s a refreshing take on both musicals and adaptation. The creativity of both the cast and direction at Writers Theatre makes for an enchanting night at the opera.

Through October 27 at Writers Theatre. 325 Tudor Court, Glencoe, IL. 847-242-6000  

*Extended through November 3rd

“To love the beauty of the mistakes….the imperfect.”  Isis Elizabeth, Playwright

In Beneath The Willow Tree, playwright Isis Elizabeth weaves an emotionally rich tapestry that examines the intricacies of familial bonds, generational trauma, and the delicate interplay between tradition and change. Set in the heart of the Louisiana Bayou, the Bordeaux family home becomes both a sanctuary and a battleground for three Black women whose lives, secrets, and desires come crashing together. Expertly directed by Aaron Reese Boseman, this world premiere delivers a gripping, spiritual family drama that hits deeply personal and universal notes.

At the center of the play is Willow Bordeaux, portrayed with emotional nuance by Sierra Coachman, a young woman who returns home from NYU, bringing more than just academic achievements—she’s accompanied by her lifelong friend  Ree, beautifully brought to life by ASH. She has also brought with her a life she’s building beyond her family’s reach. Willow’s return unearths long-buried family secrets, revealing how trauma, often unspoken, festers beneath the surface. As the audience watches Willow grapple with her past and present identities, her journey becomes emblematic of the broader struggle between old traditions and new ways of being.

The heart of Beneath The Willow Tree is the three generations of Bordeaux women, each dealing with the weight of their histories. Yahdina U-Deen, playing the family matriarch Beatrice Bordeaux , offers a towering performance—her stern exterior masking years of sacrifice, grief, and unspoken pain. Her relationship with her daughter Gloria Bordeaux played with an inner strength by Monique Marshaun,  is fraught, tinged with tension but layered with a palpable sense of love and obligation on both sides. Boseman’s direction ensures that the tension never veers into melodrama; instead, it simmers, allowing the emotional stakes to rise naturally, leading to moments of catharsis that feel earned rather than forced.

Also delivering excellent performances are Dylan Rogers, who skillfully portrays both Moses Bordeaux, the loving and enigmatic patriarch of the Bordeaux family, and Dante Ri’chard, Willow's charming and complex love interest. Rogers deftly navigates the dual roles, bringing a commanding presence to Moses while offering vulnerability as Dante. Mayiyah Brown also shines as young Gloria, capturing the innocence and intensity of the family’s earlier struggles with grace and authenticity. Special mention must be given to dialect coach Susan Gosdick, whose meticulous work ensured that the accents were pitch-perfect, seamlessly shifting from generation to generation, adding depth and authenticity to the play's rich Louisiana setting.

The Bayou setting is not just a backdrop; it is a living, breathing presence in the play. The willow tree itself becomes a symbol of both the Bordeaux family’s resilience and the weight of their past. Set design by Kevin Rolfs captures the mystical and haunting atmosphere of the Bayou, with sprawling branches casting long shadows that seem to stretch into the characters' souls. Adding to this immersive environment is Levi Watkins' lighting design, which subtly enhances the eerie and ethereal quality of the Bayou, playing with shadows and light to deepen the mood. Ethan Korvne's soundscape interweaves seamlessly, with whispers of the wind and the distant echoes of ancestral spirits by way of bass and percussion enriching  the play’s spiritual elements, grounding the story in both realism and mysticism.

One of the play’s strongest elements is its exploration of Black womanhood across generations. The conflicts between the Bordeaux women reflect broader themes of identity, legacy, and healing, resonating particularly in today’s world, where conversations about generational trauma and reclamation of self are becoming more prominent. Elizabeth’s writing doesn’t shy away from the pain these women carry, but it also offers them a path to healing—a journey that is messy, complicated, and deeply moving.

Iris Elizabeth and Aaron Reese Boseman are quickly establishing themselves as the future of theater in Chicago. While there's much to praise, a minor critique might be directed at the play's lengthy running time. Although the exceptional writing nearly makes the duration worthwhile, it may feel somewhat prolonged for some audience members. However, any potential concerns about the length are effectively alleviated by the riveting performances and the substantial thematic depth that resonate throughout the production.

Overall, Beneath The Willow Tree is a powerful debut from Isis Elizabeth. With Boseman’s sensitive direction and a cast that brings the Bordeaux family to life with authenticity and passion, the play delivers a potent mix of raw emotion, spiritual reflection, and the hard-earned path toward healing. A must-see for those who appreciate deeply human stories with cultural resonance.

Highly Recommended

When: Through September 29
Where: The Den Theatre 1331 N. Milwaukee Avenue, Chicago,
Tickets: $25-$45
Info: www.pulsetheatrechicago.org  (773)697-3830
Running time: 2 hours and 30 minutes with one intermission