Items filtered by date: November 2007

“Henry Johnson,” David Mamet’s new play running at the vintage Biograph Theatre, is like many of his works, enigmatic and demanding of his audience. With Mamet one must pay close attention to the dialog, packed with foreshadowing and reveals. Miss a line or even a word, and you’ll miss out.

This focus on the dialog is the essence of what Mamet’s works are about - plumbing the interior workings of the characters, as they face their lives. It also allows Mamet to examine in depth the forces at play in any human interaction, which in my take the playwright sees as transactional.

Expectations were clearly high for the Midwest premier of “Henry Johnson” by the Pulitzer winning Chicago playwright (“Glengarry Glen Ross,” “American Buffalo”) and screenwriter (“The Untouchables,” “Hoffa,” “The Postman Always Rings Twice”).

The biggest letters are Mamet’s name on the marquee at the Biograph. This is Victory Gardens Theater's home, where it is celebrating 50 years with this show. Its legendary founder, Dennis Zacek, takes executive producer credits on the production.

The promise of a rare new stage work by Mamet (as well as its planned release this summer as a film starring Shia LeBoeuf) drew a strong team of pros as well:
Directed by Edward Torres (co-founder of Teatro Vista), it stars Thomas Gibson (TV’s “Criminal Minds”), Keith Kupferer (“Ghostlight”) as a prison guard, Al'Jaleel McGhee (“A Soldier’s Play” Broadway tour) as Mr. Barnes and “Chicago PD” character Daniil Krimer as Henry.

“Henry Johnson” has what people come to David Mamet for - the thinking script, the demands on audiences to fill in the dots, the mystery, the unexpected reversals. For me, what is most intriguing about “Henry Johnson” is how Mamet explores a character, Henry, a beta male who is readily susceptible to being dominated by alpha male personalities.

It opens as Mr. Barnes, Henry’s boss, questions him on his unusual request: to find a job for a parolee that Henry once knew in college. McGhee’s Barnes digs into Henry’s motivation, asking him “What attracted you?” Henry’s answer: “He had this power over women,” relating how he could pick up women in bars and go home with them easily.

Barnes is hard driving, suggesting to Henry that he is under the spell of this one-time college buddy (who never appears in the play), now a convicted felon. Barnes gets Henry to state he is not physically attracted to this guy, just under his thumb.

Henry can accuretly relate back to Barnes his assessment of him - that Henry is putting the welfare of a past friend ahead of the interests of the company. Henry can hear it, but presumably he is so much in thrall to this “friend” he cannot be persuaded to discard him.

“You saw him after college?” Barnes asks.
Henry: “Before he went to prison.”
Barnes: “He was grooming you.”

The unseen friend was also a steady winner in card games, inexplicably lucky. Barnes ventures that the other men, also dominated by the friend’s charisma, let him win. “They were paying him rent.” In my experience, this is really how the dynamics of unhealthy male social hierarchy can work. When Barnes asks what he thought about his friend’s conviction, Henry replies, “I had no opinion. I thought it was my responsibility to have no opinion.”

In an abrupt change of scene, we now find Henry newly arrived at a prison cell - Barnes caught him embezzling, presumably for this unseen friend, and the audience must conclude he’s been convicted. Henry’s cellmate, Gene (Thomas Gibson) digs into Henry enough to determine his untoward fealty to his friend. Then he lectures him continuously, and Henry offers only desultory replies. As with Barnes, Henry is able to relate back to Gene, “You think my interest {in him] is an addiction.”

The setting shifts to the prison library, and the guard in charge is played by Kupferer. And then finally, a climactic scene, also in the prison library, where Mamet ties up the story for us, in a shocking end..

True to Mamet, the dialog doesn’t lead us through a plot - but an examination of where the characters are emotionally at key points along a timeline. Abrupt shifts in the setting are unexplained - Mamet expects us to figure it out, and we like him for that - but he’s not giving much to go on in each quadrant of the play: an inquiry in an office; a prison cell; a prison library; and a closing setting that spoiler concerns will leave undescribed.

The script seems less a play, than an extended treatment for a screenplay. The dialog  is less compelling than Mamet’s signature works, which take a lot of rehearsal to refine the playwright’s intended cadences. Kupferer and McGhee come closest to getting this down. With all that, it’s Mamet, and so “Henry Johnson” comes highly recommended. It runs through May 4 at Victory Gardens Theater.

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

The critically acclaimed Trinity Irish Dance Company (TIDC), a Chicago-based company whose internationally-celebrated versatility and percussive power have been hailed as “impossibly complex” (The New York Times) and “sophisticated and commanding” (Los Angeles Times), will launch its 35th Anniversary season at the Museum of Contemporary Art (MCA) in May. Led by the consistent pioneering vision of Founding Artistic Director Mark Howard, the 35- year evolution of this company is leading to a flurry of major milestone moments - including the world premiere of groundbreaking work at the MCA, the company’s Jacob’s Pillow debut, and administrative and artistic expansion.

MCA 35th Anniversary Kick-Off: May 16-18

The highly anticipated main event will be the world premiere of The Sash, and its companion dance, Taking the Mick, which celebrated its premiere last spring at TIDC’s annual Auditorium Theatre performance.

Two years in the making, these companion works are inspired by the Irish on both sides of the pond: Taking the Mick, “whimsy meets percussive ferocity” (Chicago Reader) choreographed by Howard and Associate Artistic Director and dancer Chelsea Hoy, is set against a vaudevillian era narrative that dances amongst the madness between Irish immigrant insecurities, social mobility, one-upmanship and assimilation into America.

The Sash, choreographed by Founding Artistic Director Mark Howard, Associate Artistic Director and dancer Chelsea Hoy and guest contemporary choreographer Stephanie Martinez, founder and Artistic Director of Chicago’s PARA.MAR Dance Theatre, presents an unprecedented movement vocabulary that brings the virtuosity and versatility of TIDC’s artists to a new level. Fusing Irish precision, traditions, and history with contemporary flair, The Sash brings to life Northern Irish composer Kevin Sharkey’s dream inspired by his childhood during the “Northern Ireland Troubles,” and reminding audiences that unity is stronger than conflict.

Set to a rousing score by Sharkey, the world premiere also features dialogue from the hit television series Derry Girls as well as spoken text provided by acclaimed Irish actress Eva Birthistle of the famed television series Bad Sisters.

“These companion works and their range represent a sort of ‘Sergeant Pepper’ moment for us,” says Howard. “Ours is a company that continuously and seamlessly re-grows to meet its expanding potential. Our artists’ movement vocabulary and prowess are developing at breakneck speed, and as choreographers, we love nothing more than to create new landscapes and open up new portals for our company members to soar through.”

The program will be rounded out with audience favorites that showcase the range of TIDC’s genre-defying repertoire, including Howard’s Push, an explosion of hard-driving percussive power demonstrates the company’s consistent message of female empowerment; and Michelle Dorrance and Melinda Sullivan's American Traffic, a hybrid of Irish step and American tap that plays at the intersection of rhythmic sensibilities and rebellious histories, amongst others. The program will feature original live music performed by TIDC’s band, fronted by Killarney-raised, New York City-based Brenoshea; company member Francisco Lemus who was named in Dance Magazine’s 2025 “Top 25 to Watch,” and a prelude that will introduce audiences to ten international dancers that make up TIDC’s brand-new Training Company, showcasing the high- powered athleticism of these new artists hailing from the US, Mexico, and Canada.

The four-performance series at the Museum of Contemporary Art, 220 E. Chicago Ave., May 16-18 will include:

• Friday, May 16: 7 m. - 11 p.m. - Opening night performance and 35th Anniversary gala celebration
• Saturday, May 17: 2 m. matinee and 7:30 p.m. performance
• Sunday, May 18: 1 m. matinee

The opening night performance and gala celebration will honor Trinity Warrior Award recipient Mark Kelly, former commissioner of Chicago’s Department of Cultural Affairs and Special Events, and Agnes Howard Award recipient Rie McGarry, who served as TIDC’s devoted costume manager and traveled with the company for more than a decade. The post- performance celebration will also feature drinks, light fare and celebrating with the artists.

Tickets for TIDC’s MCA engagement are on sale now and range from $40 to $80. Tickets for the opening night gala performance are priced at $275.

MAKING HISTORY - JACOB’S PILLOW

Following their MCA engagement, TIDC will celebrate their debut at Jacob’s Pillow, America’s longest running international dance festival, which celebrates its 93rd season in Summer 2025. Their engagement will feature six performances from July 10-13.

"Trinity Irish Dance Company embodies the spirit of tradition and innovation that we look for," said Jacob’s Pillow’s Executive and Artistic Director Pamela Tatge. “The company's commitment to blending the bold energy of Irish dance with contemporary sensibilities is unmatched. Their performances will mark the first time Jacob’s Pillow has presented a full program of Irish dance on the Ted Shawn Theatre stage. We can’t wait to celebrate their 35th Anniversary with their Jacob’s Pillow debut.”

For tickets and more information about their 35th Anniversary Season, please visit trinityirishdancecompany.com/performances.

EXPANSION

Leading into its 35^th Anniversary Season, TIDC is celebrating artistic and administrative expansion. The company recently welcomed a longtime leader in the Chicago dance community, former executive director of Hubbard Street Dance Chicago and River North Dance Chicago, Gail Kalver, to their team as Development Manager and Board Liaison. In response to growing interest from elite dancers around the globe to join TIDC’s mission and study Howard’s unique movement genre, known as progressive Irish dance, TIDC launched a new Training Company this fall.

Early in the first act I whispered to my companion and said “I love this!” Extremely well written by Joshua Hartman with stellar performances directed by Jeremy Wechsler, “Prayer for the French Republic” (a Northlight Theatre Theatre Wit co-production) attempts to reveal the soul-searching and angst among a Jewish family in Paris amid the recent rise in antisemitism in their country.

After generations of security in the comfort of acceptance by their countrymen, the Salomon family encounters violent attacks by newly emergent antisemitic factions in France. How can this be happening?

In three acts we see the sweep of history across five generations of Salomons, who manufacture and sell pianos.
The opening scene is in a Paris apartment in 2016, where Marcelle Salomon (Janet Ulrich Brooks is sensational) welcomes a newly arrived American cousin, Molly (Maya Lou Hlava is perfect, brimming with Francophile excitement). We are given to understand their conversation, and the entire play, is all in French—though delivered in English.

Raised as a secular Jew and not very observant, Molly is something of a renegade. “My parents didn’t want me to come, because of the, you know, terrorism.” Despite her fluency, Molly is largely ignorant of French culture, but it’s love at first sight, expressed largely by her preternatural fixation on croissants. A little cringeworthy, maybe, but Hlava perfectly captures the tone of a good hearted American in Paris. I've been that way. 

After Marcelle delivers a comical machine-gun paced recitation of the family tree outlining their familial connection—one that has Molly nodding but bewildered—Marcelle goes on to explain that her husband, Charles Bertharnou (Rom Barkhorder) is a Sephardic Jew, his family having emigrated from North Africa as France withdrew from its colonies in the 1960s. And the added horror that Nazis did away with 25 percent of the Jewish population during the war. 

Larence Grimm as Patrick Salomon in "Prayer for the French Republic."

“Most Jews in France are Sephardic,” explains Marcelle. “Why is that,” asks Molly in her abject ignorance. Marcelle's brother, Patrick (Larence Grimm), appears periodically as aloof narrator, and in the family drama as well. He has shed his Judaic heritage even as his nephew Daniel leads his family to renew their embrace of it. 

The action is interrupted with tragedy. Marcelle’s husband returns with their son Daniel (Max Stewart in a magnetic performance), bloodied by an attack on the street. Suddenly, Molly, the secular Jew, is confronted with a violent anti-semitism that she has not experienced before. In the course of the play, she will be adjacent to the profound impact this has on the Salomon family—her character something of a device, the naive observer, for the script to examine these challenging issues.

Playwright Hartman then jumps through time artfully, with a vignette of 1944 as an earlier generation of Salomons weathers the Vichy government’s persecution of Jews under Hitler’s dominion. Adolphe and Irma Salomon (Torrey Hanson and Kathy Scambiaterra) are the perfect odd couple, whose sons Lucien (Alex Weisman) and Young Pierre (Nathan Becker) have fled without warning. Adolphe and Irma themselves are spared by a sympathetic policeman, and they suffer the war physically unscathed, selling pianos now to German Nazis, though beset by angst over the welfare of their sons.

Rae Gray as Elodie and Janet Ulrich Brooks as her mother Marcelle.

Then we’re back to 2017, where Rae Gray turns in a compelling performance as Elodie, Daniel’s manic depressive sister—a familiar and haunting presence in the Paris apartment, she sleeps until noon and shrugs off her mother’s hectoring diatribes urging her to get a life. In one manic moment, Gray launches into a monologue always nearing but almost never quite reaching its concluding "My point is" that rivals the showstoppers familiar at the Steppenwolf stage. Accoloades are due the playwright, and Gray, for pulling this off so very, very well. 

Meanwhile the family has been ruminating on the cloud of antisemitic fervor sweeping across their homeland. Charles weighs emigrating, while Daniel and Molly have other things on their minds: they have fallen in love.

All this comes to resolution in Act 3, where the promise of the first two acts is delivered upon, unsatisfyingly in my view, but it pleased the audience, which rose to its feet as the curtain dropped.

What’s not to like? The set for an upscale Parisian apartment didn’t measure up, nor the language and demeanor. to my mind. did not evoke the refinement one might expect - much more Manhattan than Paris. And the storyline unravels at the end as the script devolves into more preachy and polemic than the thinking and convincing leading up to the final act.

Strings were tied up perhaps too neatly in a packaged ending. Daniel might have made a different choice than what seems to have been foreordained by the playwright. And about the piano: it seemed out of tune. And would the fifth generation owners of a piano manufacturer be reluctant to ship an instrument due to weight? I think not.

Nevertheless, this show is recommended for the pure joy of excellent performances, and the intellectual and emotional processes that lead to the resolution, unsatisfying as it might have been for me. “Prayer for the French Republic, co-produced by Northlight Theatre and Chicago’s Theater Wit, runs through May 18 at Northlight Theatre in Skokie, IL.

*Extended through May 25th

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

The repertoire for this fabulous program - A WONDROUS SOUND, showcasing the full force of Lyric’s amazing orchestra and chorus, was developed in collaboration between Lyric Conductor Enrique Mazzola and Chorus Director Michael Black.

The orchestra started it off with the thrilling overture from Carmen, followed by some of that beloved opera’s most famous choral numbers. My enjoyment was vastly enhanced by John Morgan, Lyric’s General Director, President, and CEO (whew! Keeping exalted company here!) who periodically took the podium with explanations and introductions. I’d not known, for example, how shocking mid-1850’s audiences found Carmen: operas were supposed to be about noble characters in elegant settings, yet here was this baseborn girl working in a cigarette factory! Despite (or possibly because of) this whiff of scandal, it was, and remains, thunderously popular. And I never realized how Rossini’s William Tell helped spur the Swiss people to rise up against Austrian rule and gain their independence.

The William Tell overture, made familiar to everyone by The Lone Ranger, reminded me that the early cartoons were accompanied by classical music, chosen to familiarize kids with the finer things in life. Franz Liszt's 'Hungarian Rhapsody No. 2' was featured in Tom & Jerry’s Cat Concerto and Bugs Bunny’s Rapsody Rabbit, among many others. In What's Opera, Doc? Bugs and Elmer do Wagner; and who could forget Peanuts’ Schroeder serenading Lucy with Beethoven's Moonlight Sonata?

I’d better make a confession: I am a musical philistine. Attending the symphony is nice and all, but I only truly enjoy the allegro movements, and usually spend the adagios mentally reviewing my grocery list. What can I say? I like to be livened up. Also, one of my peculiarities (some would say the least of these but that’s neither here nor there) is that I prefer listening to music I already know. Both these inclinations made A WONDROUS SOUND the perfect program for me, featuring the most beloved (and thereby well-known) overtures and choral numbers from opera and musical theater. And President Morgan’s marvelous commentary added the pleasure of edification to make it a thoroughly splendid afternoon.

Mazzola, as a native Italian, explained to us how selections by Wagner and Verdi in the mid-19^th century were focused on themes of peace and unity, helping to motivate the quarrelsome politically independent city-states (Milano, Venezia) to conjoin, creating the single entity we now know as Italy. Cool, yeah? And the ‘Humming Chorus’ from Puccini’s Madama Butterfly was a revelation to me: an entire song hummed, in 4-part harmony … who knew?

The program progressed into the 20^th century, and it was a delight to see the austere Lyric Chorus transmute their operatic strains into the giggles and exclamations in “America” from Bernstein’s West Side Story. The program concluded with Rodgers and Hammerstein’s “You’ll Never Walk Alone” and “Climb Ev’ry Mountain” (which I had to restrain myself from singing along with).

Those who hurried out during the prolonged standing ovation may have got their cars out of the garage quickly, but they missed Mazzola calling Choral Director Michael Black to the stage to help direct an encore! My companion, faculty from the School of the Art Institute, was moved to hear the overture from Sondheim’s Sunday Afternoon in the Park with George, while knowing the Seurat painting that inspired it was hanging less than two miles away.

I have already enumerated the (less than complimentary) reasons why I so loved this concert, but one would need a totally tin ear not to appreciate it. During a traditional opera the audience must keep their attention on the supertitles to follow the plot, but A WONDROUS SOUND allowed us to simply sit back and enjoy the greatest choral music of all time, from opera’s archetypic gems to treasured Broadway classics.

The performers were obviously enjoying the program as much as we were. Maestro Enrique Mazzola – only the third conductor in the Lyric’s 71-year history – is invariably referred to as ‘beloved’, which he ably demonstrated in this performance. His direction is always buoyant but for A WONDROUS SOUND he was positively effervescent. He gesticulated, he sprang into the air, he beamed at the audience….

Mazzola was wonderfully generous with acknowledgements. Not satisfied with the abundant applause after each selection, he periodically drew his orchestra to their feet, inviting more acclaim for their genius. At the close of the program, he brought several individuals from the wings to receive applause (I’m not sure who they all were, but I clapped – if they’re good enough for Enrique, they’re good enough for me!), and I’ve already spoken of how much I appreciated President John Morgan’s delightful historical vignettes.

I wish I could tell you to go see this show immediately but alas! there were only two performances. We can but hope the reception they received will induce the Lyric to mount such a production again … maybe even regularly?

VERY Highly Recommended

Citadel’s latest production, A Jukebox for the Algonquin, truly captured my heart. It’s a refreshing reminder that as we age, life doesn’t lose its spark—it merely shifts to a new rhythm, one filled with laughter, camaraderie, and unexpected joys. This delightful offering beautifully showcased the vibrant lives that still await us in our twilight years, proving that fun and bond know no age limit. 

Radiating vibrancy and warmth, this production showcases the spirited lives of its characters who discover purpose and happiness in life’s simplest yet most impactful moments. More than just a theatrical presentation, it’s a heartfelt and uplifting depiction of aging with grace, infused with humor and emotional depth.

Paul Stroili's A Jukebox for the Algonquin stands out as a true treasure of the stage, effortlessly blending sharp humor with heartfelt emotion in a celebration of the intricate tapestry of life. Transporting audiences to the delightful Placid Pines Senior Care Center in upstate New York, this play radiates with originality and charm. It introduces us to a spirited ensemble of senior residents who, driven by a nostalgic longing for their youth, devise an unexpectedly daring scheme to fund their dream of owning a jukebox—by selling marijuana. Yep! And let’s just say that the journey is as wildly entertaining as it is endearing.

The jukebox emerges as a powerful symbol, resonating far beyond this specific story. It reflects a hope from the struggles of many residents who, isolated and yearning for connection, are left grappling with a lack of stimulation, music, and activities. These individuals are confined to neglected, unrenovated sections of sprawling senior complexes, spaces that corporate priorities have relegated to the margins. This pattern has become disturbingly prevalent, as corporate-driven changes focus on enhancing facilities for wealthier, younger seniors, while leaving lower-income, older residents behind. At Placid Pines, this disparity is starkly evident: the entertainment room offers little more than a fish tank with dying fish and shelves stocked with donated books—the heartfelt contribution of a single paralyzed resident, whose spirit reflects the quiet resilience of the overlooked community. 

With vividly drawn characters, sharp and vibrant dialogue, and deeply touching moments, Stroili explores themes of enduring friendship, unwavering resilience, and the determination to transcend the boundaries of age. The play shines in its remarkable ability to uncover life’s beauty and humor in the most unexpected places. The camaraderie and ingenuity of the residents will have you laughing out loud, shedding a tear, and cheering them on throughout their unforgettable adventure.

Helmed by Director Scott Westerman, this Chicago Theatre debut is sure to touch your heart. Set within the lively recreation room of the Placid Pines Senior Care Center, this production sparkles with energy and charm, brought to life by a vibrant cast of residents, each with personalities as dynamic as the tunes on a jukebox. Leading the charge is Kenneth Johnson as Johnny, an exuberant Yankees enthusiast and the driving force behind the gang’s mission to acquire a jukebox. Johnson’s effervescent energy and magnetic stage presence make Johnny both endearing and immensely enjoyable to watch.

Adding depth and balance to the production is Bob Sanders in the role of Dennis, Johnny’s steadfast best friend and the voice of reason amidst the group’s lively escapades. Sanders delivers a warm and nuanced performance, anchoring their dynamic with sincerity and poise. Ellen Phelps lights up the stage as Annie, her lively and animated personality adding flair and excitement to every scene she graces. Elizabeth Rude completes this delightful ensemble as Peg, capturing the role with subtle charm and a compelling presence. Together, these four seasoned actors weave a narrative rich in humor, camaraderie, and heart, crafting a performance that is simply captivating.

Bringing a humorous twist to the story is Patrick Thornton as Chuck, the janitor affectionately referred to as the “dust mop guy.” Thornton’s charismatic and witty portrayal adds moments of lighthearted fun that resonate effortlessly with the audience. Rounding out this exceptional cast are Karla Corona and Joshua Thomas, who embody Placid Pines staff members with finesse, seamlessly bridging the interactions between the spirited residents and enriching the production with their well-rounded performances.

This ensemble delivers a performance that is not just entertaining but genuinely heartwarming, showcasing a narrative filled with humor, passion, and a sense of community. With their skillful portrayals, they transform the recreation room of Placid Pines into a vibrant stage where laughter, drama, and connection take center stage.

I found it especially moving how the production cleverly employed the jukebox as a symbol for life’s playlist. Much like the selections we make on a jukebox, we can choose our moments, embrace our decisions, and immerse ourselves in the harmonies of both our past and present. Citadel has masterfully created a work that strikes a chord, offering the audience a fresh perspective on the richness of life’s adventures and the bonds that can thrive in its later chapters.

A Jukebox for the Algonquin is a touching tribute to friendship, community, and the timeless spark that fuels our lives, no matter our age. It beautifully prompted me to reflect on the richness of life’s later chapters, highlighting the joy of embracing them with curiosity and a zest for living. This production is an absolute delight and a perfect pick for anyone in search of inspiration and heartwarming entertainment.

Currently being performed at the Citadel Theatre in Lake Forest, this production is a must-see for theater enthusiasts. The Citadel Theatre's intimate setting and exceptional cast bring Stroili's vision to life, making A Jukebox for the Algonquin an unforgettable theatrical experience. It’s not just theater—it’s a triumph. This joyous and moving exploration of life’s complexities leaves audiences with a renewed appreciation for the enduring vibrancy of the human spirit. What an absolutely wonderful play!

Performance Schedule: April 18 – May 18, 2025

• Previews: April 16 & 17, 2025, at 7:30 PM
• Regular Performances:
  • Thursdays, Fridays, Saturdays at 7:30 PM
  • Sundays at 3:00 PM
  • Wednesdays at 1:00 PM (April 23, April 30, May 7)

Newly Added Dates:

• Wednesday, April 30, 2025, at 1:00 PM
• Saturday, May 17, 2025, at 2:00 PM

For tickets and/or show information, click here. 

 *Extended through May 25th

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

As a lifelong aficionado of the ill-fated ocean liner RMS Titanic, I’ve always gravitated toward any experience that would leave me feeling immersed in that famous moment of an era that nobody any of us knows anymore is alive to remember. I’ve watched every grainy, dated video interview with actual survivors of the shipwreck I can find on YouTube. I’ve even listened to audio rips of ancient vinyl interviews with others who were there and who lived. One of the several times I saw James Cameron’s Hollywood opus during its initial 1997 theatrical run was seated on the flooded floor of an overbooked movie house during a torrential rainstorm; it was like virtual reality, but way soggier!

I’ve learned all I can about the unfathomable chain of events that left the liner many fathoms below the Atlantic. And I’ve tried just as hard to learn about that long-gone period in which the wealthy crossed seas on boats instead of private jets, and immigrants did the same to an America that once welcomed them. But despite the books and the videos and the museum exhibits, April 15, 1912, seems as long ago as Gettysburg or the pyramids.

That’s why I truly appreciated and enjoyed the Marriott Theatre’s current run of Maury Yeston and Peter Stone’s Tony-winning Titanic: The Musical. Instead of awing me with titanic recreations of the floating behemoth like Cameron’s film or an array of sunken artifacts recovered from the seabed over two miles below, this production directed and choreographed by Connor Gallagher made me think about the things that were really lost on that calm April night. The somethings, actually. The someones. 1,517 someones.

Utilizing the Marriott’s theater-in-the-round setup, Gallagher lets his cast—the people on board the boat—bring this early-20^th-century story well into the 21^st. And what a cast he brings along for the cruise!

But first, we feasted. The Marriott has transformed its Three Embers Restaurant into the White Star Grill. Featuring food that would’ve been served to the passengers of the White Star Line’s crown jewel, the eponymous Titanic, I was already being time-warped back to 1912 before I’d set foot in the theater proper. Braised short rib. Wood fired lamb. Poached king salmon. Chicken lyonnaise. It was all food a gourmand of the time might have expected prepared as they sailed the Atlantic. And they would’ve approved of the Marriott’s take on the fare. What a way to start a night out!

Waldorf Pudding at the White Star Grill

As dinner digested, we met the folks who, in less than two hours, would either be among the 706 survivors of the disaster, or the more than twice as many who’d be listed among the dead.

Of course, there were the famous figures—famous in their time because of their social status and still famous because of their choice of transportation. There were Guggenheims and there were Astors. And just as rich, but as charming in their humility as they were onscreen and seem to have been in reality, were Isidor and Ida Straus, the elderly couple who co-founded Macy’s and who went down, together, with the ship. Mark David Kaplan’s Isidor was lovable, while his wife Ida, who’d loved him for over forty years, was played by Heidi Kettenring, whose vocal performances throughout the show were breathtaking.

Those known for the responsibility of Titanic’s existence and demise were well represented, as well. David Girolmo’s Captain Smith was as stoic and somber as the ancient mariner he already was on what was to be his final voyage after Titanic’s maiden trip. Christopher Kale Jones’ builder of the boat, Thomas Andrews, looked more haunted and heartbroken as the fate of his creation and himself sank in. And Adam Pelty played J. Bruce Ismay, head of the White Star Line, and as close to a villain as the story has, all business and bully and bluster as the boat makes its way toward the tale’s true villain, the iceberg.

Heidi Kettenring and Mark David Kaplan in Titaninc: The Musical at Marriott Theatre

But just as it was with the actual Titanic, the many other people along for the ride made the whole thing human, made it real, made us feel like we were there. If anyone could be called a hero in this story without any, it would be stoker Frederick Barrett, played by Darian Goulding. Goulding’s got the most fleshed-out storyline and maybe the most musical lines, too, and he makes the most of them with a wonderful voice and a way of portraying a guy from the days of coal-powered steam engines.

Another everyday person looking to make it across the pond is with-child Irishwoman Kate McGowan, played by Erica Stephan, who seems to fit into every role and production she’s part of. James Earl Jones II and Lillian Castillo also wow as American couple Edgar and Alice Beane who try to blend in with the other passengers, but who instead steal the spotlight with their own wonderful musical numbers. Another couple in love played by Francesca Mehrotra and Will Lidke were maybe my favorite vocalists of the evening, although Matthew Hommel’s dual roles as boy telegrapher Harold Bride and bandmaster Wallace Hartley reserved for him two of the evening’s best songs.

And, backing all of these varied performances and the ongoing score was as tight a Marriott orchestra as I’ve heard, conducted by Brad Haak.

When you head to Marriott Theatre’s Titanic: The Musical—playing now until June 1—you won’t find priceless trinkets plucked from the ocean floor, nor will you find lifelike walls of riveted steel. But you will find a lovely dinner followed by a truly immersive night to remember as you meet some of the people who lived, and who didn’t, on that calm Atlantic evening over 113 years ago.

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

The Opera Festival of Chicago announces the cast and creative team for The Love of Three Kings (L’Amore dei tre Re), with music by Italo Montemezzi, a libretto by Sam Benelli, directed by Sasha Gerritson, conducted by Uff. Emanuele Andrizzi with a cast of more than 40 performers and an orchestra of 39 musicians. Performances are Friday, May 9 at 7:30 p.m. and Sunday, May 11 at 2 p.m. at the Athenaeum Center, 2936 N. Southport Ave. Single tickets are $25 - $50 with subscriptions available at OperaFestivalChicago.org.

Forty years after conquering Altura, the blind king Archibaldo faces growing resentment from its people. He recalls the conquest as a thrilling victory, likening it to winning a beautiful woman. His son, Manfredo, is married to the Alturan princess Fiora, who secretly loves another Alturan prince, Avito. Though Archibaldo suspects Fiora’s infidelity, his blindness and uncooperative servants leave him without proof.

Amid love duets and tense confrontations, Archibaldo grows increasingly enraged and strangles Fiora at the end of the second act. In the final act, Fiora’s body lies in a crypt as the Alturans mourn. Archibaldo poisons her lips, intending to trap her lover. Avito kisses Fiora and dies, revealing their affair to Manfredo, who, in grief, also kisses her and succumbs. Archibaldo enters to confirm his scheme but is devastated to hear the voice of his dying son.

In addition to The Love of Three Kings (L’amore dei tre re), the Opera Festival continues with its Young Artists program performing a delicious program featuring songs inspired by food in opera, Delicatessen Recital, June 5, the Opera Festival of Chicago's leading artists then appear in concert for Love is a Triangle, June 14, with the season concluding with Ruggero Leoncavallo’s Pagliacci, June 27 and 29.

“The 2025 Festival, our fifth season, is going to be a season of celebration here at the Opera Festival of Chicago. This organization began forging its path in the opera world in 2021 with the mission of presenting Italian opera masterworks that rarely-if ever- grace the stage in the United States,” said General Director Sasha Gerritson. “These fully staged productions featured star-studded casts and have included several United States and Chicago premieres. We look forward to welcoming audiences from all over the Chicagoland area to this year’s season, which is based on a powerful theme, “Love is a Triangle,” and continues our mission in 2025 with concerts and two Italian masterworks.”

The cast of The Love of Three Kings features Andrea Silvestrelli (bass, King Archibaldo); Maria Kanyova (soprano, Fiora); Franco Pomponi (baritone, Manfredo); Andrew Morstein (tenor, Avito); Matthew DiBattista (tenor, Flaminio); Aldo Alan Navarette (Giovanetto/Fanciulo); Jade Dashá (soprano, Ancella/Giovanetta) and Viktoria Vizin (mezzo-soprano, Una Vecchia).

In addition, there will be a chorus including Floriana Bivona; Lizzie Broeker; Melanie Budreck, Winifer Castaneda; Jorie Clark; Brooke Craig; Ryan Daly (cover, Avito); Angela DeVenuto (cover, Fiora); Katrina Dubbs; Theresa Egan; David Green; Abigail Greer Arcamona; Lauren Ingebretsen; Marlina Karimi; Ally Lewkowski; Joe Lodato (cover, Manfredo); Jake Luellen; Samantha Mcgonigal (cover, Una Vecchia); Margaret Meierhenry; Grisella Milla; Chimerie Obianom; Jennifer Parr (cover, Ancella/Giovanetta); Brian Pember; Leah Rockweit, Pamela Spann; Meg Thomas-Cary; Leo Radosavljevic (cover, Archibaldo);

 Jose Vargas Ramirez; Carmen Vizin-Esquivel; Kevin Wheatle and Jonathan Wilson (cover, Manfredo).

The creative team for The Love of Three Kings includes Uff. Emanuele Andrizzi (conductor); Sasha Gerritson (director/supertitle design); Richard Robbins (chorus master); Catherine O’Shaunessy (assistant conductor); Darren Brown (production manager); Bill Morey  (costume designer); Erzebet Schneider (costumes supervisor); Shane Cinal (set designer); Andres Fiz (projections designer); Mike Goebel (lighting designer); Mary Mazurek (recording engineer); Melanie Saso (hair and wigs designer); Errin Austin (makeup designer); Hannah Zizza (supertitle operator); Gisella Milla (assistant to the director); Sebastian Medina (master electrician); Hannah Wein (assistant lighting designer); Rachel Rock (stage manager); James Juliano (SHOUT!) (publicity director); Lorenzo Formosa (house manager); Natalie Zoia (orchestra manager); Emily Zwijack (social media); Jacob Little (production assistant); Kaylea Meyers (production assistant); Irina Feoktistova (accompanist) and Leo Radosavljevich (chorus accompanist)

ABOUT SASHA GERRITSON, GENERAL DIRECTOR

Sasha Gerritson is a highly sought after opera and musical theater stage director who directs for many local and regional companies, specializing in traditional productions of believed repertoire. For the Opera Festival of Chicago, Gerritson received rave reviews for her production of Assassinio nella Cathedrale (2023). She also is regularly involved with Music Theater Works where she recently directed Guys and Dolls (March 6 - 30, 2025), Lerner & Loewe’s Brigadoon (2023) and Irving Berlin’s White Christmas (2022) both to great critical acclaim.

Gerritson served as the Opera and Music Theatre director of Northeastern Illinois University from 2010-2022, has directed for Musica Nelle Marche (Urbino, Italy), Opera Piccola, DePaul University, the Cherub Music Theatre program for Northwestern University, in addition to various other summer programs in the area.

In addition to her stage direction work, she is a choral conductor and singer, serving as the director of music ministries for the Park Ridge Community Church. She also proudly serves on a number of boards city-wide, including The Brookfield Zoo, the Navy Pier Foundation, the Goodman Theatre and DePaul University, for which she is vice chair.

Gerritson lives in Glenview with her husband, Eugene Jarvis, and their two sons.

ABOUT OPERA FESTIVAL OF CHICAGO

The Opera Festival of Chicago presents world-class standard productions of Italian opera masterpieces in Chicago that rarely grace the stage in the United States. In doing so the Opera Festival of Chicago aspires to: generate an inquisitive operatic appetite within Chicago audiences; make its work – and its cultural context – accessible to a wide audience; provide a stimulating and inspirational environment of Italian opera for artists and audiences alike; provide a vital opportunity for young artists entering the profession to uphold the high integrity and demands of Italian opera with artists and musicians who are established professionals and to highlight and celebrate the immense talent that has originated from the Chicagoland area.

See Chicago Dance, the dance industry's nonprofit service organization celebrating its 20th anniversary in 2025, is proud to announce that its popular annual offering, Chicago Dance Month, will return May 31 - June 28. Now in its 12th year, Chicago Dance Month provides numerous opportunities for artists and companies to celebrate the myriad talents that make Chicago’s dance scene so strong. This summer celebration, featuring many free events, begins with a Chicago Dance Month Kickoff Celebration, Saturday, May 31 at 3 p.m. at Navy Pier, 600 E. Grand Ave.

“It’s going to be an amazing June for Chicago’s dance community as we celebrate 20 years of See Chicago Dance and 12 years of presenting Chicago Dance Month,” said See Chicago Dance Executive Director Julia Mayer. “This year’s CDM artists were selected by our inaugural Community Curatorial Committee, a marvelous group of dance leaders whose insights helped to lift up new voices and further diversify our program offerings.”

In addition to the events listed below, See Chicago Dance will highlight the work of scores of artists and organizations during this citywide celebration. Chicago Dance Month events and Hot Deal discount offers will be added to future releases and updated regularly on the organization’s newly re-designed, state-of-the-art website, SeeChicagoDance.com.

EVENTS CURRENTLY SCHEDULED INCLUDE*:

Chicago Dance Month Kickoff Celebration

Navy Pier’s Lake Stage, 600 E. Grand Ave.

Saturday, May 31

3 - 5 p.m.

FREE

Chicago Dance Month begins with an opening celebration at Chicago’s Navy Pier featuring a dynamic mix of performances from companies and artists that span genres and cultural traditions. Audiences are encouraged to bring a blanket, have a picnic and enjoy the performances.

Pier Dance

Navy Pier’s Wave Wall Platform, 600 E. Grand Ave.

Wednesdays, June 4 - 25

6:30 - 8:00 p.m.

FREE

Enjoy free dance lessons on Navy Pier’s Wave Wall Platform every Wednesday in June. These sessions are great for those who love socializing, learning new dances and being outdoors. Make it a date night or social event by sticking around for Navy Pier’s iconic fireworks display every Wednesday night following these exciting dance classes.

Wave Wall Moves

Navy Pier’s Wave Wall Platform, 600 E. Grand Ave.

Saturdays, June 7 - 28

4 - 5 p.m.

FREE

In partnership with Navy Pier, dance comes to the Wave Wall stage, located across from the iconic Ferris Wheel grand staircase, with pop-up performances from a rotating roster of dance companies every Saturday in June.

On the Move

Palmisano Park, 2700 S. Halsted St.

Tuesdays, June 17 and 24

5:30 - 7 p.m.

FREE

A series of short, site-specific performances that winds its way through public parks, inviting audience members to discover hidden pockets of movement.

• Tuesday, June 17 at 5:30 p.m.
• Tuesday, June 24 at 5:30 p.m.

*Performers, companies and programs are subject to change.

ABOUT JULIA MAYER, EXECUTIVE DIRECTOR, SEE CHICAGO DANCE

Julia Mayer, who was named Executive Director of See Chicago Dance in 2020, has been involved in and influencing Chicago’s cultural scene in a variety of capacities for more than 25 years, having worked at 3Arts Inc., The Richard H. Driehaus Foundation, Chicago Humanities Festival, Morrison-Shearer Foundation, and Museums In the Park. In addition, she has chaired and served on numerous committees from Links Hall to Chicago Dancemakers Forum to the Chicago Park District. Mayer has been a choreographer, teacher or consultant at Columbia College, University of Chicago and in Indiana at Valparaiso University and Saint Mary’s College. She has a master of fine arts degree in dance from the University of Illinois at Urbana-Champaign and a bachelor’s degree in Linguistics from the University of Chicago.

ABOUT SEE CHICAGO DANCE

See Chicago Dance is a nonprofit service organization with the mission to advocate for the dance field and strengthen a diverse range of dance organizations and artists through services and programs that build and engage audiences. Its vision is to fearlessly inspire an ever-growing inclusive community to share in and spread the power of dance in Chicago.

See Chicago Dance is the source for all things dance with the city’s most comprehensive resource for dance information and one of the largest websites in the United States dedicated to the art form. Its two-pronged approach focuses on building audiences while developing a more cohesive dance community.

For audience members, See Chicago Dance offers a dynamic calendar of dance performances and experiences, Hot Deal ticket discounts, professionally written reviews and previews, and listings for more than 200 dance organizations.

For dance artists and organizations, See Chicago Dance provides a full range of Programs and Industry Resources to help build audiences, improve skills, and foster appreciation of dance in all its forms.

Brian Friel’s “Translations,” now playing at Writers Theatre in Glencoe, IL, shows off the renowned Irish playwright’s signature skill in creating a stage full of memorable characters, 10 in this case, each with depth sufficient to fuel their dramatic paths.

“Translations” as Friel tells us, “has to do with language and only language.” Though written and played almost entirely in English, the Irish speak with brogues to “represent” that they are actually speaking in Irish; the British speak in a more formal King’s English. On stage, under the accomplished direction of Braden Abraham and dialect coach Eva Breneman, it becomes clear that Irish is being spoken, and when the few English speakers appear, that the two groups do not understand each other.

Friel treats us to a compelling story line—a love triangle—against a backdrop of an overwhelming British culture, bulldozing its way across the neighboring emerald isle. Set in 1833 in the mythical town of Baile Beag (Anglicized as “Ballybeg”), the action takes place in a “hedge school,” a form of resistance to this British cultural hegemony.

Hedge schools were illegal underground tutoring centers where the Irish adults would go to study ancient Greek and Roman classics, translating them and discussing them in their native Irish tongue.

Indeed, the play is very much about translated language. At the hedge school, we hear Hugh (Kevin Gudahl), a teacher at the hedge school and student Jimmy Jack (Jonathan Weir) reading Homer and Virgil and discussing comparative renderings in Irish. The only English word Jimmy Jack has bothered to learn is “bosom.”

English military cartographers have arrived in Baile Beag to map out the area, and set about developing Anglicized versions of the Irish names for the notable geographic features, rivers, valleys, streams, hills, etc. One character, Owen (Casey Hoekstra) who was born in Baile Beag but left years ago, has returned on retainer to the British as a translator whenever the British want to make themselves understood, or to hear from the locals. Owen also helps Lieutenant Yolland (Erik Hellman), known as “George” for most of the play, in the Anglicizing process.

In one incisive scene Owen explains to George the etymology of a place name for a crossroads: 

“We call that crossroads Tobair Vree. And why do we call it Tobair Vree? I’ll tell you why. Tobair means ‘a well.’ But what does Vree mean? It’s a corruption of Brian—an erosion of Tobair Bhriain. Because a hundred-and-fifty years ago there used to be a well there, not at the crossroads, mind you—that would be too simple—but in a field close to the crossroads. And an old man called Brian, whose face was disfigured by an enormous growth, got it into his head that the water in that well was blessed; and every day for seven months he went there and bathed his face in it. But the growth didn’t go away; and one morning Brian was found drowned in that well . And ever since that crossroads is known as Tobair Vree—even though that well has long since dried up.”

With the weightiness of its backstory, though, “Translations” is primarily entertaining and very funny. “Honest to God,” says one of the hedge school students, Maire (Julia Rowley), “some people aren’t happy unless they are miserable.” The characters are witty, and concerned with the life at hand, not the downside of British dominance.

In the course of the play, our British cartographer, George, falls for Maire, but neither can understand each other at first. We watch them learning bits of each other's languages. This relationship is also complicated by the presence of another hedge school teacher, Manus (Andrew Mueller), who expects Maire to marry him.

The scenes in which George expresses his ardor for Maire in language unintelligible to her are priceless. Over several meetings, they gradually learn some of each other’s language. It’s also notable that Maire abandons the hedge schoo, seeing her future in speaking English and emigrating to England. For Maire, George is her ticket to another life. George, on the other hand, has fallen for Ireland, and sees his future there, with Maire. Neither understands the other's motivation.

At one point, we hear Owen translating an address by Captain Landry (Gregory Linington) to the gathered hedge school students. Since Owen’s “Irish” translation is rendered in English by the playwright’s design, we see a complete disconnect between what Captain Landry states, and the way Owen delivers to the students.
Ultimately there are clashes borne of the magisterial power of the English over the Irish, and this forms a fiery underlay to the human drama playing out.

Set by Andrew Boyce and costumes by James Pytal are excellent. Kudos to dramaturg Bobby Kennedy for his work in identifying this lesser known Friel script. (The playwright’s best known work is probably “Dancing at Lughnasa,” brought to film with Meryl Streep in 1998.) A shout-out for the work of casting director Katie Galetti, CSA, who cast a wide net for the talent on stage. Performances by Andrew Mueller as Manus and Casey Hoekstra as Owen (the two are brothers) are particularly noteworthy, as was Julia Rowley as Sarah, a student with a speech impediment. I have to say I loved watching the angry student Bridget (Chloe Baldwin).

“Translations runs through May 4, 2025 at Writers Theater in Glenco, and comes highly recommended.

In a masterful stroke of programming, Steppenwolf Theatre Company presents the Chicago premiere of "The Book of Grace," Suzan-Lori Parks' incendiary companion piece to her Pulitzer Prize-winning "Topdog/Underdog." Director Steve H. Broadnax III has crafted a searing production that peels back the layers of American family dysfunction with surgical precision.

Set in a small Texas border town, the play centers on an explosive triangle: Grace, played with luminous warmth by Zainab Jah, a waitress who fills her notebook with life's quiet moments of beauty, collecting them like precious stones to ward off darker thoughts.; her husband Vet (Brian Marable), a soon-to-be-honored border patrol agent, maintains order with an iron grip that hints at something more dangerous beneath the surface, and Vet's estranged son Buddy (ensemble member Namir Smallwood), whose arrival ignites a powder keg of long-suppressed trauma.

Parks, who won a Pulitzer for "Topdog/Underdog," has crafted something remarkable here - a play that feels both intimately personal and sweepingly political. She uses this family's dysfunction as a lens to examine larger American wounds: the violence we inherit, the borders we create, the ways we fail to protect what we claim to love.

Zainab Jah, bearing an uncanny resemblance to a young Cicely Tyson, delivers a tour de force performance as Grace. Her portrayal is pure magic embodied, infusing the character with an effervescent optimism that makes her eventual disillusionment all the more devastating. As the rigid patriarch Vet, Brian Marable brings a chilling authority to the role, while Namir Smallwood's Buddy simmers with contained rage, his every gesture a loaded gun waiting to go off.

Parks' script continues her exploration of fractured American identity and familial bonds. Where "Topdog" examined the relationship between brothers through the lens of historical reenactment, "Grace" turns its gaze to the combustible dynamics between fathers and sons, set against the backdrop of America's ongoing border crisis.

The circular stage becomes a cage in Broadnax III's hands. With audience members boxing in the action from all sides, the performers have nowhere to hide – much like the fractured family they portray. It's claustrophobic and intense, exactly as it should be. As the drama unfolds in Steppenwolf's intimate arena, you can feel the tension building like a pot about to boil over. The production strips away theatrical artifice to expose the raw nerves of a family—and by extension, a nation—at war with itself.

What emerges is a gothic horror story dressed in kitchen-sink realism, where the monsters aren't supernatural beings but the ghosts of American history itself: racism, violence, and the cyclical nature of trauma. Parks continues to prove herself one of American theater's most vital voices, crafting work that refuses easy answers while demanding we confront our most uncomfortable truths.

"The Book of Grace" may be a companion to "Topdog/Underdog," but it stands as its own testament to Parks' genius—a play that grabs you by the throat and doesn't let go until its devastating final moments. In the hands of this exceptional ensemble, it's not just theater; it's an exorcism of American demons that feels more relevant now than ever.

Some plays entertain. Others leave scars. Suzan-Lori Parks' "The Book of Grace" belongs firmly in the second category, delivering a gut-punch of a production that lingers long after the house lights come up.

Highly Recommended

When: Through May 18

Where: Steppenwolf Theatre 1650 N. Halsted

Running time: 1 hour, 35 minutes

Tickets: $20 - $110 ($15.00 student tickets)

www.steppenwolf.org/tickets--events/

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