Items filtered by date: November 2007

“Bill W. and Dr. Bob,” in its Chicago premiere at the Biograph Theater, tells the exciting story of the 1935 origins of Alcoholics Anonymous, or AA.

Ubiquitous (though by its own traditions it doesn’t advertise), AA has spawned some 200 similar addictive behavior treatment programs (for drugs, compulsive sex and gambling, overeating and more). All use variations on the 12 steps of recovery and structure laid down by its founder, Bill Wilson, a New York Stock broker, and co-founder Dr. Bob Smith, an Ohio surgeon.

With a spare set—a few chairs and a table—“Bill W. and Dr. Bob” delivers a series of quick-cut scenes that carry the exposition on Wilson and Smith as they descend into the depths of alcoholism, treading the same path but driven by different demons. Many of us active in recovery programs rooted in AA know these tales well. The play by Samuel Shem and Janet Surrey brings these stories to vibrant life, unfiltered from the official recovery version.

For one thing, it represents their wives. Known only in AA’s Big Book through the lens of Dr. Bob’s voice, the domestic turbulence in both households related by AA's "Big Book" is from the men’s perspectives.

On stage, see it lived, and find real women with agency. Though they are patient, loyal and long suffering, they are not helpless.

We watch Wilson (played remarkably well by Ronnie Marmo, who also directs) repeatedly struggle to stop drinking. Frequently fired, he continuously heads out to work on his latest venture, sober for the moment—only to return, sometimes days later, to his wife Lois (Katherine Wettermann) with a sob story, hungover, penniless, and filled with more grandiose dreams of how he will escape this latest reversal. 

Wetterman gives a great performance as Lois, who challenges Wilson on his dreams, and his drunkenness. Lois harangues her husband when she finds out he has stolen money for drink from her purse—a common experience in the life of those co-habiting with substance abusers—money hard won as Lois works single handedly to keep their home afloat. Angry with Lois about this dressing down, Wilson lifts a chair to strike her, then arrests himself. Even Bill realizes he has gone too far and must find a way out of his alcoholism.

Dr. Bob (Steve Gelder turns in a great performance) is a different kind of drunk, happier, playful—but as a surgeon he is playing with fire every time he operates either hungover, or possibly under the influence. His wife Anne Smith (Elizabeth Rude is excellent) turns to religion, and attends services at the Oxford Group, which had some success helping alcoholics. There she befriends Ebby Thatcher, a recovering alcoholic who reaches out to Dr. Bob. His atheism makes Oxford Group repellant, but eventually Bill Wilson shows up at Dr. Bob’s doorstep in Ohio, in his own quest for a solution to his alcoholism. Wilson sobers up with Oxford, and is introduced to Dr. Bob to see if he can help him.

Wilson’s credibility as a fellow drunk works. He even pours Dr. Bob a drink to calm him enough to listen. When Wilson cites “God” as an aid, Dr. Bob bristles.

“Let’s leave God out of it,” says Wilson, ever the salesman, and they talk. Dr. Bob has agreed to a fifteen-minute chat. But the two end up talking for six hours, and in this connection the seeds of the AA movement are born. We see that Dr. Bob's healing skills as a doctor, and Bill Wilson's formidibale salesmanship, are a perfect combination for the creation of AA.

The second act traces the foundation of the AA organization, and Wilson and Smith’s excitement and conviction that the mutual support of fellow alcoholics is a key to recovery. Dr. Bob and Wilson learn as they go, and there are missteps.

“What we need is a steady supply of stable alcoholics,” Wilson declares.

On stage we meet a second Bill (Phil Aman in the role of Man), an alcoholic hospitalized for treatment. Later his wife (Marla Seidell in the role of Woman) meets up with Lois Wilson and Anne Smith, and this trio of wives creates Alanon, a mutual support group for those living with alcoholics. It can be plausibly argued that AA is the foundation of today’s many, many peer-to-peer support groups rooted in grass-roots action.

Once word spreads about AA, they get them in spades. The organization forms: no dues or membership fees, just a willingness to stop drinking to join. And it spreads rapidly across the U.S., and soon, around the world.

When AA formed, the world was in the throes of the Great Depression, and millions of men lost their jobs, putting their families under duress as well. Bill Wilson was among the many executives whose high flying careers were dashed. Wilson turned to alcohol for solace and escape. As scheme after scheme failed to salvage his career, Wilson found he was more and more dependent on alcohol for relief. Soon enough the balance shifted, as his dependency on alcohol tripped him up just as he seemed set for a successful comeback.

It’s hard to imagine that before this time, there was no methodical, effective program for treating alcoholics, though for centuries charities operated homes for inebriates to sober up. Alcoholism and drug addiction were regarded as moral failings; willpower to stop drinking was seen as the solution. Wilson and Smith offered a different approach: surrender to the understanding substance abusers were powerless to stop, and that they needed some power outside themselves to control the urge to drink or use, and to support them when they were tempted.

At the time of the play, psychotherapy was being developed by Freud and Jung. Jung offered early on that for some “hopeless” alcoholics he had treated, only a more spiritual solution would be effective. “Dr. Bob and Bill W.” explains how AA works, covering all the key developments in the program—surrender to the process, a self examination of one’s weaknesses, support of fellow alcoholics, and making amends to those who have been injured along the way.

The set is designed by Danny Cistone with lighting design by Cortney Roles, who give the stage a noirish feel. Performed more than 350 times by Marmo’s New York/Los Angeles-based Theater 68, “Dr. Bob and Bill W.” will pass muster for those in a 12-step program for its accuracy. And it will appeal to everyone for the exciting story of the origins of this program, which is the foundation of the many self-help and recovery groups that are woven into the fabric of U.S. society. “Dr. Bob and Bill W.” runs through April 14 at the Richard Christiansen Theater of the Biograph Theater in Chicago (2433 N. Lincoln Ave.), in repertory with Marmo’s other and quite wonderful one-man show, “I’m Not A Comedian…I’m Lenny Bruce.”

*Extended through April 28th

I’ve seen quite a lot of wonderful, entertaining dance productions in Chicago lately - creations that include music and modern dance set to the compositions of great artists like David Bowie, Sting and also beautifully staged to outstanding selections by lesser-known musicians that undoubtedly deserve more recognition. This past weekend I was able to catch a very impressive dance spectacle by MOMIX, the Washington, Connecticut based company known for their dancer-illusionists. With incredibly spot on music by a host of talented artists, MOMIX brought their interpretation of Alice in Wonderland to life for a one night only performance at Chicago’s Auditorium Theatre. ALICE, by Artistic Director Moses Pendleton, really stood out as being a tremendously alluring and engaging piece of dancing, mixed media and an ingenious presentation - a unique experience of both modern and classical music. 

MOMIX: ALICE utilizes ingenious props involving full-length mirrors held by the dancers while gazing into them, silken fabrics, which seem to breathe like they are alive and glow as the dancers writhe beneath them in stunning shapes and subtle movements, and a massive whimsical swing for Alice to glide on while set in a sunny field of wildflowers and green grass. There are twenty-foot high mechanical lifts and gowns, which propel Alice high up into other worlds set to the music of Grace Slick’s “Go Ask Alice-White Rabbit” and giant rubber balls, which are bounced in unison by the seven dancers and manipulated in such a way that is both graceful and comical. Massive blood red silken roses come to life like puppets with no visible puppeteer, ever so gently brushing back and forth against the heads and shoulders of two beautiful dancers in Act Two’s “Bed of Roses” . 

Although this production is not a child’s production of the play or film Alice in Wonderland, it is marvelously colorful for a vibrant visual experience and spectacularly graceful in its execution. I loved that the final message given during this open interpretation of Alice comes in the words “feed your head, feed your head,” which was applauded wildly by the audience.

MOMIX: ALICE is a true ensemble piece and when the faces of the dancers are covered it is difficult to tell them apart, because Pendleton has cast a very specific body type and height in order to keep all of the movements and stunts unique to MOMIX as uniform as possible, yet the quality of their dance still allows for the fierceness and sensuality of individual dancers to shine through. 

All of the dancers, regardless of their dance background or number of years dancing displayed the highest quality of dance movement, which, to me, happens when the expression of each gesture and movement extends all the way through to the fingertips - the very tips of the fingertips and toes in the most elegant and intelligent way. This type of extension and attention to detail and grace in the hands particularly gives the entire production a hypnotic and floating quality that is not often seen in modern dance.

ALICE has dark moments, humorous moments and sensual moments that take us through Alice’s personal discovery in growing as a little girl into a woman experiencing different planes of consciousness. All the while, the production never veers into the realm of clowning or erotica that might tarnish the incredible combinations of superb young dancers mixed with art worthy projections and very interesting and exciting musical choices. 

Artistic Director Moses Pendleton says it perfectly in the program, “We see Alice as an invitation to invent, to dream, to alter the way we perceive the world, to open it to new possibilities. The stage is our rabbit hole. We welcome you to drop in!”

During the after-show Q&A, which was very interesting, an audience member asked why MOMIX does not have a permanent home in Chicago like Blue Man Group. Their answer was two-fold – to bring the show to wider audiences around the world by touring, and to leave the audience begging for more. I agree that the comparison to Blue Man Group (as far as being a resident show) is right on the money. MOMIX: ALICE is full of such spectacular illusions, marvelous video projections of nature and other psychedelic artworks accompanied by the highest quality of dance, that it is worthy of having its own permanent stage and is entertaining enough to see over and over again.

I highly recommend MOMIX: ALICE when it (hopefully) returns to Chicago or any MOMIX production for that matter. 

There’s a reason Elton John’s Broadway musical adaptation of ‘Aida’ was one the most popular musicals of the early aughts. Verdi’s classic has all the romance and tragedy that opera fans crave, but with a relatively easy to follow plot. For that reason, ‘Aida’ is a more accessible work for the unindoctrinated. It’s a great opera to cut one’s teeth on along the same lines as ‘La Boheme’ (which was adapted into RENT).

‘Aida’ returns to Lyric after a decade, and who better to revive it than world renown Verdi interpreter (and Lyric’s Music Director), Enrique Mazzola? Previously he’s conducted Verdi classics: ‘Luisa Miller’, ‘Macbeth’, ‘Ernani’ and ‘Don Carlos’ and like those that came before, ‘Aida’ does not disappoint.

‘Aida’ premiered on Christmas Eve, 1871 as a commission by the government of Cairo and quickly had a European premiere in early 1872. It’s been staged almost 1500 times since then. While the plot is inspired by African lore, much of this story is Verdi’s own creation. He was not only a masterful composer but a compelling storyteller. Plots can often be an afterthought when it comes to opera and many are downright weird, or even offensive by today’s standards. Verdi’s tragedy is tragic in the sense that its principal characters die, but somehow there’s more lightheartedness here than say, ‘Romeo + Juliet’.

A trio of incredible voices and performers tell the story of all that’s fair in love and war. Michelle Bradley sings the title role, while Jamie Barton sings the role of her captor, Amneris. They’re both in love with the dashing army general Radames (Russell Thomas) but Amneris is the king’s daughter. Aida’s homeland is conquered by Radames who enslaves her father. Despite the brutality, Aida is hopelessly in love with Radames, but as the victor, he’s promised Amneris’ hand in marriage as a reward. The twist? Radames reciprocates Aida’s love and ultimately betrays his king for her.

Michelle Bradley stars in 'Aida'.

As always, the visual spectacle created on stage at Lyric perfectly matches the gorgeous music flowing from the pit. Four acts (and three hours) breeze by in swift transitions and huge choral numbers. ‘Aida’ lends itself well to musical adaptation as ballet and dance also serve to further the plot and communicate emotions without words.

Though it does beg the question, would this opera be as interesting without a million dollars’ worth of staging? The answer is always yes. The three main vocalists prove that while the staging is great, what opera fans really come for is first and foremost, the music. When all three are on stage, you forget that anything else exists. Even the perceived “villain” Amneris lights up the stage with her perfect comedic timing.

‘Aida’, like many classic operas continues to find enthusiastic audiences because of the solid story, excellent music and epic scale. If you missed ‘Aida’ ten years ago at Lyric, now’s your chance to see it bigger, better, and even grander under the direction of a Verdi master.

Through April 7 at Lyric Opera Chicago. 20 N Wacker Drive. 312-827-5600

For tickets and/or more show information, click here. 

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). 

Black music in the 1980’s was transformative. It was the decade where Black music exploded in diversity and influence. It broke down racial barriers in popular music, with Black artists topping the charts and influencing artists across genres. Black music embraced new music technology; pioneering techniques used in popular music today. It provided a powerful platform for social commentary, giving voice to Black experiences in America.

Writer-Director Daryl D. Brooks takes us back to the 1980’s with his time machine, if you plan on taking the trip, pack your dancing shoes and be ready to party “all night long”.

The premise is simple, Derrick Taylor (an entertaining Brandon Lewis) a High School senior must do a research project on music of the 1980’s. He knows absolutely nothing about the 1980’s or its music. He solicits the help of his eccentric inventor Uncle Mike (the always excellent Thee Ricky Harris) who just happens to have been working on a time machine, and what a time machine it is.

Dominating the stage is a boombox perched atop a turntable. This colossal creation by Set Designer Denise Karczewski instantly transports us to the vibrant 1980s, a decade synonymous with bold statements and larger-than-life living. It evokes the era of Flava Flav's iconic clock necklace, where oversized accessories and shoulder-padded garments ruled the fashion scene.

Britt Edwards in The Time Machine: A Tribute to the 80’s

This set design isn't just a visual spectacle; it's a subtle commentary on the era's emphasis on conspicuous consumption. The sheer size of the boombox hints at a time when material possessions played a significant role in expressing success and individuality.

The music in Act 1 reflects the diverse sounds of the 1980s, including funk, soul, and hip-hop.

It features artists like Lisa Lisa & Cult Jam, Soul to Soul, Prince, Sheila E, Morris Day & The Time, Keith Sweat, and New Edition. Act 2 opens with movie theme songs, which were popular in the 1980s. It also introduces rap music, which was beginning to gain popularity at the time. The music also features slow jams and artists like Al B. Sure, DeBarge, Sade, Force MDs,  Whitney Houston, and Michael Jackson.

This exceptionally cast show boasts several unforgettable performances:

Jaitee delivers a captivating triple threat, embodying Bobby Brown, Keith Sweat, and even Run with remarkable ease. Micah Alyce stuns as both Lisa Lisa and Irene Cara, showcasing her versatility.

Vincent Jordan commands the stage as Morris Day, LL Cool J, and Al B. Sure, proving his acting range.

Jared Brown shines as Prince, effortlessly transitioning to El DeBarge and Ricky Bell. The dynamic duo of Britt Edwards and Vu brings Denise Williams, Whitney Houston, and Salt-N-Pepa to life, showcasing their vocal and dance talents. Issac Ray energizes the stage as Kurtis Blow, while Ben Izlar Jr. delivers a vocally stunning performance as Johnny Gill. Isaiah Engram brings power and charisma to Rob Base and Ronnie Devoe, and Miciah Lathan flawlessly embodies both Queen Latifah and Chaka Khan. Ama Kuwonu's graceful portrayal of Sade adds another layer of brilliance to the production.

My one criticism, I would have liked Madonna to have been more prominent in this production. She was the embodiment of 80s culture. You couldn’t go to a club in New York without seeing her or hearing her music.

Fueling this musical time machine is the masterful Music Director, Robert Reddrick. With his keen ear and dedication, he has meticulously recreated the authentic sounds of the featured songs of the 1980s’. Joining him on this sonic journey is a stellar band, bringing the music to life with their expertise. Adam Sherrod weaves his magic on the keyboard. Eric Troy, Sr. adds rich textures to the organ.

Myron Cherry keeps the beat solid on drums. Oscar Brown, Jr electrifies the guitar and Walter Harrington anchors the sound with the bass. Together, this talented team forms the engine that propels the audience through a musical journey across time.

Christopher Chase Carter’s choreography was sharp and tight. The moves were complicated and very well executed. He obviously researched the era and the dance styles.  It paid off well, the choreography was beautiful.

Marquecia Jordan's costumes reflected the 1980's aesthetic, with a heavy use of sequins, the colors were bold, and they were accessorized according to the era. Big Chains, Big Earrings…. Loud!

Black artists' success challenged the status quo, their innovative sounds became the new mainstream, and their powerful messages resonated with a global audience. The 1980s became a decade where Black music wasn't just popular, it was transformative.

The Time Machine: A Tribute to the 80’s is more than just a musical revue; it's a time capsule capturing the raw energy, cultural impact, and enduring legacy of 80s music."

Highly Recommended

When: Through April 14, 2024

Where: 4450 N. Clark

Running time: 2 hours, 30 minutes

Tickets: $56.50 - $66.50  Info at www.blackensemble.org.

Chicago Danztheatre Ensemble (CDE) in collaboration with Duncan Dance Chicago has put together a production that undoubtedly will tap into one’s inner most feelings by way of a stunning presentation of interpretive dance, storytelling and art exhibition. Meditations on Being, performed at Danztheatre’s home in the Auditorium at Ebenezer Lutheran Church is, according to the Executive Director and Founder Ellyzabeth Adler, inspired by the difficulty the arts community has faced over the last four year but focuses on reflection, and reconnecting – rebuilding a sense of community. Meditations is a stunning collection of eight pieces that also include contributions by author and playwright Timothy David Rey and fellow artist/performer Courtney Reid Harris who has worked with Adler on past projects The Wasteland and This Is Not a Pipe.

Chicago Danztheatre Ensemble opens the show with “Meditations on Nature: Birth, Decay and Renewal,” a segment co-created/performed by Wannapa P. Eubanks, that paces us nicely for what is to come after Adler sets the tone with heartfelt poetry that touches on the many frustrations we face in today’s society while offering a suggestion to reset by relinking with others to focus a peaceful mindset that revolves around the often overlooked, gift of the moment.

The production moves gracefully from one scene into the next. I was very touched by the two-woman dance piece by Duncan Dance Chicago titled “Street Salvation” with music by Chopin. The choreography was originally designed by company namesake Isadora Duncan. Duncan herself was simple and expressive. Artistic Director and Jennifer Sprowl performs beautifully as does Lila Rubin who portrays a young girl, down and out laying in the street, when an angel comes and tries to help her blossom and open up in the end. The angel walks towards Heaven and the young street girl finally able to get up and follow her.

“Confluence” created by Siwei Xu and Daria Jin is a lovely piece danced in complete silence. A beautiful girl is trapped in a maze of red velvet ropes suspended from the ceiling and her lover tries desperately to pull her out, so close at times yet so out of reach until the two are finally united.

Of the many poignant pieces the production delivers, “Elyse” created, and performed by Eileen Tull may have resonated with me the most. “Elyse” was a very well written monologue with interpretive dance about a young friend of hers who recently died of a heart attack. Tull’s delivery is compelling and her words, beautifully said in this lovely tribute to her dear friend, ever so moving. Connected to this piece, as part of the show’s visual art demonstration, one corner of the church space displays an art exhibit created by Tull, entitled “The Grieving Corner”. At one point in the piece, Tull asks the audience to call out the name of a person they were mourning, which I felt was very touching and effective.

“RIA” with choreographer and performer Anniela Huibobro and production by Gabriel Mercado with music by Victor Moris, Collen and Mercado is a stunning piece of modern dance while “Meditations on Walden” by CDE with text by Henry David Thoreau is a delightful and intriguing play on words and life. The act is summed up in the song “Who Knows Where the Time Goes” charmingly performed by Courtney Reid Harris to ensemble members Kerry Valentine Taylor, Jen Benjamin and Peyton Hooks.

The final presentation ends the show with expressive imagery that effectively sums up the program creator’s destined vision. “Meditations on Nature” includes beautiful video along with projected images of flowers and plants growing and unfolding while blossoming, as a woman donned in a wedding gown with a forty-foot train slowly walks up into the nature scenes. Her train becomes the final touch to the structure that houses a community rebuilt and reconnected.

Meditations on Being presents a powerful message thanks to inspired direction and its talented group of performers, writers and choreographers. I really enjoyed the way Chicago Danztheatre Ensemble employs so many different styles of dance from Isadora Duncan to modern along with the art installations that are available to look at during the intermission. This is a very lovely and touching, politically affecting night of entertainment and art. I highly recommended this production for audiences of all ages.

Mediations of Being is performed at Auditorium at Ebenezer Lutheran Church, 1650 W. Foster Ave through March 9th. Tickets are a suggested $10-$20 donation and running time is about one-hour and forty minutes, which includes a ten-minute intermission. For tickets and/or more information on this production, click here.  

The Groundhog Day musical debacle left me wary of movie-to-stage adaptations. I saw them as cash grabs, mere shadows of the beloved originals. So, I approached Mrs. Doubtfire with trepidation, fearing another corny, uninspired musical. Thankfully, Mrs. Doubtfire surprised me. It wasn't just enjoyable, but the refreshingly unapologetic old-fashioned style of musical theater was a welcome change.

In case you’re unfamiliar with the source material, Mrs. Doubtfire is based on the 1993 movie of the same name. It starred the late incomparable Robin Williams and Americas sweetheart Sally Fields, and yes, we really do love her. The musical faithfully captures the heart of the movie, while incorporating essential modernizations. The plot is straight forward, Daniel Hillard a fun-loving vocal actor, devoted father to his three children is having marital problems. His free-spirited personality and impulsive behavior often clash with his workaholic wife, Miranda. Their differences culminate in a divorce. Daniel loses custody of his children although he gets limited visitation rights. Meanwhile, as Miranda’s work as a gym-wear executive requires more of her time, she now requires a Nanny. The process of interviewing potentials is comedy driven, as is so much of what unfolds in this 2-1/2-hour show.

After securing an interview with Miranda, Daniel sets out to become the nanny. He visits his gay brother Frank and his equally gay brother-in-law Andre. Both are in the costume design business. The first production number of this show (Make Me a Woman) sets the bar extremely high for future production numbers. Frank and Andre give Daniel several options to choose from. They start out with glamorous ‘Jackie’, ‘Diana’, ‘Cher’ and ‘Donna Summer’ until they realize ‘Eleanor Roosevelt’, ‘Julia Childs’, ‘Margaret Thatcher’, ‘Janet Reno’ and ‘Oscar Wilde’(strange, but it works) is closer to the nanny Daniel is going for. Daniel becomes Mrs. Doubtfire right before our eyes.

The production updated the material by using modern devices to its benefit. In ‘Easy Peasy’ Mrs. Doubtfire uses Alexa to find recipes and suddenly chefs pop out of every corner of the kitchen to help create a chicken recipe, even Julia Child and Paula Deen, with extra butter, make an appearance.

‘Playing With Fire’ is a fever dream of Daniel where he questions everything he has done thus far and involves the entire company. It is a big production with excellent choreography bringing the whole company together.

The heart of this production is Rob McClure, a theatrical force seamlessly transitioning between Daniel and Doubtfire, McClure is giving a career defining performance that would surely make Robin Williams proud. The lovely Maggie Lakis as Miranda and their on-stage children Giselle Gutierrez as Lydia (what a voice), Cody Braverman as Christopher, and Kennedy Pitney as Natalie make up the Hillard family. 

The supporting cast includes Aaron Kaburick (hilarious as Frank), Nik Alexander (a dramatic Andre), Leo Roberts (a powerfully built Stuart Dunmire) and Jodi Kimura as stoic station manager Janet Lundy.

In the wrong hands this production would be a mess, in the hands of four-time Tony Award winner, Jerry Zaks it becomes gold. His illustrious career boasts triumphs like "Guys and Dolls," "Six Degrees of Separation." and “La Cage Aux Folles”.  His keen eye for talent, comedic timing, and the ability to draw out the best in his actors have cemented his place as a Broadway icon.

This heartwarming and delightful musical is a pure joyride. Unlike some shows with hidden agendas, its sole purpose is to make you laugh out loud. While it's a charmingly old-fashioned family-oriented production focused on pure entertainment, the underlying message is clear: love conquers all, family is everything.

When: Through March 10

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

Running time: 2 hours, 25 minutes

Tickets: $44-$116 at www.broadwayinchicago.com

Shakespeare’s R & J is another demonstration of just how brilliant William Shakespeare truly was, is, and ever will be. Romeo & Juliet has captivated audiences since the 16^th century. The story of the star-crossed lovers is universal, appealing to audiences from all walks of life, and stanzas from the work (e.g. ‘star-crossed lovers’) have become recognizable as allegories. Chicago’s abundant theatrical venues have given us myriad reworkings of Romeo & Juliet, proving over and over that the Bard’s works are endlessly adaptable.

But you’re not here to be sold on Shakespeare as a playwright, right? You already had that. What I’m here to say is that, though we’ve all seen many variations of Romeo & Juliet, Joe Calarco’s Shakespeare’s R & J presented the old chestnut with a twist I personally hadn’t seen before; a twist that director Amber Mandley further bent into a singular new production.

All Shakespeare’s work was, of course, originally played by all-male casts: male actors playing both male and female roles. Adaptations of his works have been stage with extensive diversity of gender-bending (it’s a wonder MAGA’s not yet banned his work!); I’ve seen many variations that were truly brilliant. Romeo & Juliet provides abundant material for presentation as an exegesis of gender, race, ethnicity, religion, politics … a wealth of lenses through which to view this enduring, universal and endlessly adaptable story.

Calarco’s Shakespeare’s R & J was originally envisioned with an all-male cast, set in an exclusive boys’ prep school, and PrideArts’ Artistic Director Jay Españo initially planned to produce it thus. However, various adjustments and scheduling conflicts resulted in PrideArts’ Managing Director Amber Mandley taking the director’s chair, and she was eager to bring more female roles to PrideArts’ stage, and she situated Shakespeare’s R & J in a Catholic girls’ school, with adolescent girl characters. Co-Assistant Directors Elissa Wolf and Magdiel Carmona brought further depths of cultural diversity and familiarity into the directorial discernment.

The four girls are designated only as Student 1 (Madelyn Strasma), Student 2 (Luz Espinoza), Student 3 (Hannah Eisendrath) and Student 4 (Isabel Lee Roden).  Their individuality was further obscured by Costume Designer Shawn Quinlan dressing them in matching school uniforms: skimpy pink pleated skirts, spit-shined black patent oxfords, pink vests and jumpers under pink cardigans and blazers, though each differentiated herself (as they do) with a slightly different vest etc. It wasn’t necessary though – the 4 actresses each created their own unique and indelible impression!

Nga Sze Chan had a helluva lot of props to keep track of, all of them oft-used: a blanket is transformed from a bed to a bridal veil; a length of red silk represents a honeymoon suite or an exsanguination, and a cane is deployed to run Mercutio through – said skewering nicely choreographed by James Napoleon Stone. Shakespeare’s R & J relied heavily on Lighting Designer August Tiemeyer to set the mood and spotlight particular events; both he and Sound Designer Valerio Torretta Gardner were well-supported by Lead Electrician Aidan Lynn Smith. And Stage Manager Elijah McTiernan managed to keep everyone and everything coherent and harmonious.

Luz Espinoza was a cuddlesome, ardent little Juliet – maybe a bit of a slapper, but delightfully so. Romeo as played by Madelyn Strasma was far less convincing a lover – or maybe there simply wasn’t sufficiently torrid chemistry between them. It didn’t seem to be an actual shortcoming for either the actors or Intimacy Director Grace Goodyear, they simply didn’t ignite one another. All the actors had to be agile and sprightly as they cavorted and wrestled, gamboled and dueled, but Isabel Lee Roden’s vivacity and marvelous comedic bearing were exceptional – this was their debut with PrideArts and they’re definitely a keeper! Hannah Eisendrath came across as a ringleader, the mastermind and instigator of the group’s revelry, and she carried this sense of dominance across all the roles she played, from Lady Capulet to Mercutio.

Shakespeare’s R & J is about breaking rules – after all, that’s what teenagers do, right? Forbidding anything at all – a book; a curfew; a lover – guarantees that adolescents will flock to it. In Shakespeare’s R & J we watch these four girls become caught up in the Montague – Capulet antipathy to enact their rebellion against the austerity of a convent school.

I do wish that theme had been fleshed out more. Romeo & Juliet was presented beautifully, the acting by all four of the cast excellent. It ain’t easy to deliver iambic pentameter fluently, and Madelyn Strasma, Luz Espinoza, Hannah Eisendrath and Isabel Lee Roden all performed superbly.  I just wish Mandley, Carmona and Wolf had contrived to show us a deeper look at Students 1, 2, 3, and 4:  four girls navigating the perils of adolescence within the suffocating strictures of a private Catholic girls’ school; four Students with enough acumen and moxie to defy the rules through the medium of a fifteenth-century Harlequin romance. Four girls who, through embodying people dead for four millennia, begin to perceive and explore their own developing bodies and greedy, voracious little minds; four girls becoming women vicariously through women who never lived, yet who live within every woman and man … such a rich vein to mine there!

Yet I walked out without a full understanding of why these four Students chose to flout the rules by reading a banned book, or why they chose Romeo & Juliet, of all the banned books (un)available. I’m not clear on just why Students 1, 2, 3, and 4 decided to enact the play rather than simply read it, and what impact this reenactment had on their developing minds, emotions, and sexuality … though certainly none of them appeared to be squicked by kissing their classmate(s)!

So, though PrideArts’ production of Shakespeare’s R&J was excellent, it was also basically unsatisfying. But I’m an optimist … I look forward to seeing what Jay Españo and Amber Mandley will bring to PrideArts’ next season!

Shakespeare’s R&J plays at PrideArts’ Theatre through March 24

For anyone familiar with children’s literature, Roald Dahl is a household name. Since the 1960s, Dahl has entertained and enchanted his young readers with fantastical tales of witches, giants, talking animals, magical chocolate factories, and yes, even a giant peach.

So, it is more than appropriate that the Marriott Theatre in Lincolnshire has added to its children’s theatre repertoire for the 2023-2024 season a lively and imaginative adaptation of Dahl’s classic James and the Giant Peach. During the 70-minute run time – perfectly suited for the younger audience – the gifted and energetic ensemble bring to life the magical adventures of James Henry Trotter and his intrepid insect friends – Earthworm, Green Grasshopper, Centipede, Spider, and Ladybug.

In this adaptation of the musical, which premiered in 2010, with a score composed by the Tony Award-nominated team of Benj Pasek and Justin Paul (La La Land, Dear Evan Hansen, The Greatest Showman) and book by award-winning playwright Timothy Allen McDonald (who also adapted Dahl’s most well-known work, Willy Wonka), the charm and quirky characters of Dahl’s James and the Giant Peach are introduced once again to a new generation of fans.

The audience is guided through James’ adventure under the skillful musical narration of Ladahlord, a mysterious magical man, capably played by Chicago theatre veteran, Alex Goodrich. As he informs the audience, magic is going to unfold “Right Before Your Eyes” in the opening number. And then it does, as spiders, earthworms, grasshoppers, ladybugs, centipedes, charging rhinos, ravenous sharks, and comical seagulls all come brilliantly to life through the creative combination of puppets and actors and innovations of costume and wig designers Amanda Vander Byl and Ray Sanchez and gifted props master Leo Bassow.

For those unfamiliar with the story, James becomes an orphan after his parents are eaten by a rhino (see above!) who has escaped the London Zoo. He falls into the hands of his wicked aunts, Aunts Sponge and Spiker. After being given a magical potion of crocodile tongues by Ladahlord, James trips and scatters the potion before he can use its power. What does result, however, is a gigantic peach!

While the aunts try to make money off charging people to see the giant peach, James enters the peach itself, finding himself in the company of human-sized insects. After the peach drops from the tree and rolls into the ocean, James and his companions use their wits and abilities to battle sharks and other obstacles to voyage across the ocean. Eventually the peach lands on the Empire State Building. When it drops to the ground, it crushes the two wicked aunts who have followed the peach across the ocean, and James and his newfound family are home at last.

From the beginning, the audience is captivated by the music, puppets, and the talented cast. James is wonderfully played by 12-year-old Kai Edgar, who made his acting debut at age 8 in the title role of Oliver at the Marriott Theatre. Edgar brings an energy and poise to his performance that is well beyond his age. His amazing performance alone is reason enough to see the show.

He is joined onstage by an equally experienced and gifted ensemble. The dour and doubting Centipede is brilliantly played by Garrett Lutz, who has appeared on numerous Chicago stages, including numerous Marriott productions. Andrés Enriquez also returns to the Marriott stage and delights as the near-sighted and fearful Earthworm. Enriquez shines in his number “Plumb and Juicy,” one of the show’s more memorable tunes, as he breaks from his reserve and fears to help save his companions.

The ensemble is rounded out by veteran actor Christopher Kale Jones, who plays the wise and steady Green Grasshopper and undeniable leader of the group, with an understated elegance and humor. He is joined by Elizabeth Telford, as the kind and motherly Ladybug, who brings a sweetness and tenderness to her role. Juwon Tyrel Perry, who most recently appeared in Marriott Theatre in its Carole King tribute musical, Beautiful, who plays Spider, with a hip and stylish vibe.

And of course, no Roald Dahl story is complete without its villains, which are wonderfully played by Lucy Godinez and Leah Morrow, as the delightfully wicked aunts, Sponge and Spiker, respectively. The pair’s oversized personalities and outlandish antics are crowd favorites, but that doesn’t stop the audience from cheering when their evil designs are finally crushed after the peach drops on them.

Under the direction of Tommy Rapley, who also choreographs the performance, Dahl’s classic tale entertains and captivates the audience with its fast-paced action, nonstop comedy, and innovative set. Marriott’s signature theatre is the perfect venue and James and the Giant Peach is the perfect production to introduce your children and grandchildren to the wonderful world of theatre.

You can catch James and the Giant Peach at the Marriott through March 30th.

As the audience takes its seats around the Shakespeare Theater’s Courtyard thrust stage, wraiths in black gowns and white masks silently infiltrate the aisles, imparting an air of menace and suspense about what will unfold as we near the opening of “Richard III.” Soon enough, they take to the stage, where mounds of skulls deck the bottom of industrial scaffolding, a surgical partition concealing the center of the stage. The wraiths whisk away the shield, revealing Richard III (Kaity Sullivan).

“Now is the winter of our discontent,” Richard cries, and declares an intention to recapture the throne, and sets the play in motion. In this production, director Director Edward Hall has cast as Richard III the Tony-nominee Sullivan, an athletic paraplegic who plays powerfully from a wood captains chair on wheels, and her infirmity seamlessly substitutes for that of the famously hunchbacked and deformed king, “so lamely and unfashionable that dogs bark at me.”

This is Hall’s first production as the successor to founder and long-time artistic director Barbara Gaines, who in 2023 retired after 36 remarkable years. And Hall’s production of Richard III shows we have an outstanding new talent on a premiere Chicago stage. The core of a successful Shakespeare is the language, and when the delivery is right, the bard’s Elizabethan language arrives with clarity on the audience’s ears. Hall brings us something more, too. The nuance inherent in the lines is brought forth with exquisite timing—benefitting passages of dark humor, threat, and the starkest evil as Richard III plots through murder and marriage to capture the throne.

This is not Shakespeare dressed up in contemporary, ill-fitting trappings. Any anachronistic elements—body bags, guns, chain saws—are purposeful and instantly resonate. Those ghoulish wraiths form a corps of murderous henchmen, carrying out the grisly killings of those who stand in the way of Richard’s path to the crown. Often the murders are backlit and done behind the screens, with silhouettes and bloody showers indirectly visible to the audience, making them truly horrific. As a sickle blade eviscerates George, the Duke of Clarence (Scott Aiello), we see it from behind, and his entrails are dropped over the screen into a bucket, signifying his end. Wow!

Music underscores a number of scenes, and particularly powerful are Gregorian and other melodious chants by Richard’s minions—suggesting an effort to confer weight and worthiness on this violent pretender to the throne who seeks the endorsement of the populace, using manipulative tactics and positioning familiar to anyone watching politics today.
In Act 3 Scene 7, for example,we hear the Duke of Buckingham (Yao Dogbe) report to Richard on efforts to talk him up at a public meeting, where he sought a call to the throne by popular demand:

Buckingham: I bid them that did love their country’s good cry “God save Richard, England’s royal king!”
Richard: And did they so?
Buckingham: No. So God help me, they spake not a word. But, like dumb statues or breathing stones, stared at each other . . . .

So Buckingham suggests a different tack, in which he will bring the officials to “discover” RIchard deeply in prayer, and charges Sir William Catesby (Anatasha Blakely) to act as a shill and beg Richard to take the throne, to which he will at first resist, then reluctantly accept.

Mayor: Do, good my lord. Your citizens entreat you.
Buckingham: Refuse not, mighty lord, this proffered love.

At last comes Sir William Catesby (Anatasha Blakely), entreating RIchard to accept the crown, but delivering the line in a broad Chicago accent, full of knowing irony and a wink: “O, make them joyful. Grant their lawful suit.” The moment is pricelessn as the scene plays out like something out of the storied tales of Chicago’s City Hall pols. And like Napoleon, Richard crowns himself,

Though this is Shakespeare’s second longest play, the performance speeds by, and I was surprised to find the hour when I got back to my car. Highly recommended, “Richard III” runs through March 3 at Chicago Shakespeare Theater on Navy Pier.