Items filtered by date: November 2007

Murder, intrigue, and Angela Lansbury: the three universally acknowledged truths that make up a great mystery story. Hell in a Handbag's production of Murder, ReWrote: The Musical Parody at the Den Theatre is the perfect cross-section of drag show and musical. Expect to laugh, cackle, restrain yourself from singing along, and make an immediate tribute to the incomparable Angela Lansbury as you’re reminded of what an icon graced our screens and stages for the better part of a century.

Musical theatre references and camp abound alongside the talented singing and comedic performances. Whether or not you’re a fan of Murder, She Wrote the television show, you’re bound to be entertained outside of all context at Murder, ReWrote: The Musical Parody.

(Left to right) Britain Gebhardt, Grant Drager, David Cerda and Caroline Kidwell in Hell in a Handbag Productions’ world premiere of Murder, ReWrote. Photo by Rick Aguilar Studios.

In The Den Theatre’s Murder, ReWrote, our favorite comedically reimagined mystery novelist Bessica Feltcher (Jessica Fletcher, in the real ‘80s/'90s TV show) has a harrowing case on her hands: that of a rich hieresses's daughter found dead in the living room of the family mansion.

Who could have done it? Her mother? The maid? Bessica’s hapless nephew Grady? It’s like watching a game of Clue play out in real time, only way funnier.

Britain Gebhardt channels Lansbury in voice, looks, and persona as acclaimed mystery author and amateur detective Bessica Jeatrice Feltcher, aka BJ. The hobbyist slueth finds herself at the center of a whodunit murder mystery leaving everyone wondering, “Who killed Christina??”

The rest of the cast is hilarious and committed to their roles as well, from Grant Drager as Bessica’s goofy nephew Grady to David Cerda's haughty, RuPaul-esque portrayal of heiress June Crayfish.

(Left to right) Mark Bartishell, Caroline Kidwell, Britain Gebhardt, Daniel Hurstand, Cathy Reyes McNamara in Hell in a Handbag Productions’ world premiere of Murder, ReWrote. Photo by Rick Aguilar Studios.

Hell in a Handbag Productions goes all out in this production, from the creative and unexpected ways they adapt a television series to the stage, the thoughtful references to Lansbury’s other work sprinkled throughout, and the loving insults they lob at the corniness of the original TV show.

The music and lyrics by George Howe and Ed Rutherford, along with the direction from Anthony Whitaker, make this musical parody a sparkling one. You can feel the love and attention to detail that went into every joke, reference, and visual gag, showing that this creative team genuinely loves its source material. You can only make fun of something lovingly – and cleverly – if you admire it and respect its merit in the first place.

Murder, ReWrote: The Musical Parody is playing at the Den Theatre through September 16, 2023. Tickets can be bought at the box office at 1331 N Milwaukee Ave or on their website.

*Extended through September 18th

The Writer by Ella Hickson, now in its U.S. premiere at Steep Theatre under the sure direction of Georgette Verdin, is a maddening yet compelling exploration of art, power, commerce, and gender. It is messy, incisive, and brashly frustrating. It is the anti-Barbie, exploring patriarchy, empowerment, and self-determination in a world without a hint of pink. People in this world must earn a living, which really gets in the way of idealism. The Writer is full of unwinnable arguments, plus a few that where the victories are the opposite of what one would like them to be. In a loosely defined series of scenes and rebuttals, the eponymous Writer reveals herself through excerpts from her plays and scenes from her life, though the lines between these are deliberately blurry. Both in the fictionalized versions of herself, and in the real (but are they? —our narrator seems a little unreliable), the Writer spends much of the play defending herself and her work, with only limited success.

Verdin has assembled a fine cast of both Steep Theatre regulars and guest artists willing to throw themselves into the melee that is this play. Lucy Carapetyan plays the Writer with an edgy and anxious self-righteousness that invites sympathy but not empathy, and occasionally veers into unpleasant self-absorption. As her fictional doppelganger and sometime lover, Krystal Ortiz’s grounded presence often makes the Writer’s points more effectively than the Writer herself, while also showing the pitfalls of the Writerly vision. Peter Moore as the Director is tasked with representing the Patriarchy and does so with the right amount of creeping condescension tempered with a pragmatic humanism that allows his arguments to resonate more than Hickson may like—or exactly how much she would like. Nate Faust makes one want to like his characters, bringing a guileless charm to his roles as the character of the Director and the real-life boyfriend of the Writer; he plays the former with a disarming openness that makes his over-bearing attitude more grating, and the latter with a weirdly imperious lack of self-esteem. Jodi Gage and Allyce Torres take on multiple roles throughout, but especially in a second act scene that breaks both the conventions of the play and the urban setting, embodying a mythological world where women are freed from the constraints of patriarchal norms in a piece that seeks to surmount conflict and tension in a modern, tribal ritual dance (Successful? No... but it requires commitment from its performers nevertheless).

The design elements also reflect the ephemeral nature of the theatre experience and the idea that reality itself is an extension of this experience. The “staged” scenes are stripped to their essentials—performer and text, with occasional projections to amplify this relationship and break away from the more concrete spaces of the rest of the play. The scenes that presumably show the Writer’s real life are played on precariously assembled sets that only partially define the spaces that they create. Scenic designer Sotirios Livaditis has created deliberately artificial stage sets with visual counterpoints that reinforce the spaces’ connections to the Writer, though the many moving parts make for some clunky scene changes. As the Writer’s perception of reality shifts into the metaphorical—writing being a calling and a life—the lighting (by Brandon Wardell) and sound (by Thomas Dixon) reflect the increasingly tenuous scenic elements, and occasionally mirror the darkness and self-doubt of the characters’ thoughts. Costume designer Gregory Graham conveys the practical concerns of the characters (and creates the modern tribal costume—accessorized athleisure: why not?) and clearly defines the difference between those who need to project a certain image and those who are privileged not to do so. Movement director Claire Bauman creates a plausible performance art ritual dance. Intimacy Director Gaby Labotka struggles with the reality of the more intensely sexual moments as far as pacing and masking (there is a lot more blanket work than there probably would be if the characters were as alone as they are meant to be), and the beats of the intimate scenes feel both awkwardly slow and rushed.

Director Verdin mostly allows the ambiguities of The Writer to be as frustrating as Ella Hickson most likely intended. She also leans into the bracing humor and combativeness of the dialogue, which is often laugh-out-loud-funny, even as the characters struggle to find common ground or solid answers. Having been written at the beginning of the #MeToo movement, the play mostly deals with the power of institutional patriarchies to shape attitudes, tastes, social hierarchies, age (what happens when an angry young woman grows older?), art, and, yes, sex. There are brief nods to intersectionality and economic class, and Verdin’s production acknowledges that these nods leave several elephants waiting in the wings in order to focus on feminism. The play and production are smart enough to understand that this two-hour dialectic is premised on the privilege of being part of a world where art provides a living for some and is affordable to others. Most people will find something to nod in agreement with, and that may not always be what the person next to them is nodding about. Hickson has written a metatheatrical puzzle box of polemical arguments, but fortunately she has also created characters that go beyond their arguments, especially in the hands of a sensitive director and a talented and empathetic cast. The Writer offers an opportunity to question what makes good Art (theater specifically, but as a metaphor for capital-A Art), the role and responsibility of the artist in society, and whether art is an extension of patriarchy or a tool to fight it. It does not offer any answers, which may have some echoing the words of one of the characters, who demands in vain that the Writer “write an ending.” But then they would miss out on the opportunity to do so over drinks after the show.

The Writer runs through September 16 at The Edge Theater 5451 North Broadway, with performances Thursday, Friday, and Saturday nights at 7:30 pm, and Sunday matinees at 3pm. For tickets and more information contact the box office at (773) 649-3186 or www.steeptheatre.com.

Like any Millennial, my playlists are quite eccentric. Firmly planted within the rotation of 90s rap, boy band battles, and classic oldies rests a plethora of show tunes; Hamilton, Wicked, Hairspray, and the occasional song from shows I've never seen. Give me a karaoke mic and Broadway song choices and I could go toe-to-toe with any musical theater savant. One bucket list item of mine has been to actually see the plays these ballads originate from. As my playlist pulled up the familiar "I Want to be a Producer" it was fate that the opportunity arose to see the play here in Chicagoland, The Producers.

The 2001 Tony Award­winner for Best Musical, adapted by Mel Brooks and Thomas Meehan from Brooks’ 1968 comedy film, follows Max Bialystock, the one time king of Broadway producers hungry to strike it rich, and Leo Bloom, an accountant with dreams of someday becoming a theater producer, as they discover that they could get richer by producing a flop than a hit and start by finding the worst show, worst director, and worst actors. When their new production, “Springtime for Hitler,” turns out to be a smash success, the plan is thrown off and the partners lives are thrown into chaos.

This classic production by one of the greatest comedy visionaries of our time, the incomparable Mel Brooks, still stands the test of time even though the satirical shock value are effectively muted on younger generations. It wasn't that younger audience members didn't know the Third Reich references, but like any satirical piece, it eventually begins to lose much of the context that allowed for the bite and tongue-in-cheek humor. What it might lack in context, The Producers still leverages clever 4th wall break with the actors and the audiencr, like when Steve McDonagh as Roger de Bris (as Hitler's understudy) joked with the modern audience about wearing Flippy floppies during his play-within-a-play monologue. And big bang musical numbers like "I Wanna Be a Producer," where Leo Bloom, played by David Heinously, sings about the drudgery of a boring office job and dreaming of something more, makes the play relevant and relatable regardless of your age. The cast were quick and witty, their delivery, interpretations, and full body acting made the play a competition for the show stealer. From Thomas M Shea as a Max Bialystok that rivals Nathan Lane, Kelsey MaxDonald as the sexy and aloof Ulla, Sam Nachison as the funniest pigeon not-so-former-Nazi Franz Liebkind, and the singular force of Eustace J Williams and Carmen Ghia, the friendly one-upping of the cast only enhanced the humor of this timeless play and brought modernity to the comedic gem.

While my trusty playlists have played every song from The Producers musical, I had never seen the play nor adapted movie. I sat somewhat self consciously with musical theater ifficiencados as they sat eagerly for their fifth or sixth viewing of the play. I braced for judgement but received an envied groan of "I wish I could see this for the first time again!" They urged me to expect nothing to be surprised for everything. From the minute the love orchestra tuned to the closing curtain I was entranced and in stitches throughout the play. It was fast paced, witty, with so much action humor the 2 hour run time flew by. I had to bite my lip to stop cackling as "Springtime for Hitler" played and bratwurst clad women danced across the stage like Vegas showgirls, all while an effeminate History heils himself with a bent wrist. Everyone in the audience of every age and creed were doubled over in laughter at some point in this production. Exceptionally cast with some of the best talent in Chicagoland, incredible tech and staging, and an agreed consensus from the musical theater crew that it was one of the best performances they'd seen in the 7th viewing; high praise from those audience members and this writer would concur.

In the days that passed, The Producers tracks have evaded my Pandora and Spotify playlists. When it eventually makes its revival, I'll now have detailed visuals of sequenced dresses, pigeon kissing Germans, walker bearing dancing grandmas, and jailhouse musicals. Don't get the references? Make your way to the northern burbs to see The Producers and text me your reaction when you see the bratwurst, I’d love to see that for the first time again.

The Producers A Mel Brooks Musical is now playing a limited engagement through August 20th in the Center Theatre at the North Shore Center for the Performing Arts in Skokie. Tickets are available at https://northshorecenter.org.

Chicago is in for a real treat. And based on the full theater at last night’s opening, I think most expected this production would be something special – and it is. MJ the Musical is a lavish production based on Michael Jackson’s amazing life that engages its audience from beginning to end and it is now playing at the James M. Nederlander Theatre through September 22^nd.  

This MJ Estate approved production mainly focuses on the rehearsals just prior to the wildly successful 1992 “Dangerous Tour” that toured in multiple countries and grossed over $140 million (in the 1990’s!). What some might now know that is explained in the play is that was a make-or-break tour for Jackson. Worried that he was on the cusp of losing relevance with old and new music listeners, MJ put everything he had into this tour leveraging his precious rights to The Beatles songs he owned and eventually mortgaging his prized Neverland Ranch to finance the endeavor, but also pushing his physical abilities and stamina to the limit. When his nervous advisors caution him about the money that is at risk with the magnitude of the tour and that he is “hemorrhaging money”, Jackson simply responds with, “We’ll get it back.” In MJ, we get a firsthand look at the pressures that Michael was under to make this tour succeed while revealed in this musical are the underlying factors that ultimately contributed to Jackson's untimely death – factors which are poignantly touched on regarding his dependency of opioid painkillers that he feels are key in helping him to push on beyond his parameters.

The story really unfolds when Rachel, a fictional reporter well played by Mary Kate Moore, is invited to interview Jackson while he is preparing for his Dangerous Tour in 1992. MJ, along with his handlers, prefer to keep the interview light with an aim solely on his music. But Rachel is determined to get a more in-depth interview stating it’s been years (14 was her estimation) since he’s really opened up to a reporter. In interviewing Michael over the course of two days at his rehearsals, more and more is revealed and the story travels back and forth from the 1992 tour to his past where it all began when he was just a young boy singing with the Jackson Five – a turbulent time for the talented singer, thanks to his abusive father, Joseph Jackson (Devin Bowles). Joseph managed the band comprised of his children and was beyond a perfectionist, pushing young Michael and his brothers to a never attainable standard for most. He is portrayed as strict, a womanizer who had no problem using his hands on his family to get his point across. We clearly see from this production where Michael gets his never-ending drive to perform at the highest level, even if it means taking pills to cope with the stresses of achieving that kind of success.

Roman Banks is STUNNING in his role as Michael Jackson during the 1992 rehearsal scenes. Banks’ voice has an uncanny likeness to Jackson’s and his dancing is nothing less than spectacular. Banks performance as MJ is worth the price of admission alone. Brandon Lee Harris also shines as in between Michael that takes place during his later days with The Jacksons through MJ’s super breakout “Thriller” album. Both Harris and Banks take turns impressing the audience with an astonishing representation of Jackson at different ages, while not to be forgotten is Ethan Joseph and Josiah Benson who share the role of young Michael on alternating show performances – also spectacular.

Four actors of varying ages are perfectly cast to portray Jackson as a child, young adult in The Jackson Five era and during the “Dangerous Tour”.  These actors have mastered Jackson's trademark vocals for their period along with his highly skilled dance techniques. I was absolutely blown away by each actor portraying him.

This play with book by Lynn Nottage is wonderfully directed by Christopher Wheeldon, who also exceptionally handles the production’s choreography. This is a show filled with exciting visuals, sounds and awe-inspiring scenes. The choreography and lighting effects during the scene where Jackson's study of Bob Fosse, Fred Astaire and The Nicholas Brothers are represented during a fantastic mesmerizingly choreographed dance sequence by Jackson and the entire ensemble – just one of so many beautiful moments in this musical.

Jaylen Lyndon Hunter as Little Marlon and Ethan Joseph as Little Michael with cast in 'MJ the Msucial'. Photo by Matthew Murphy, MurphyMade.

The stage design is marvelous and colorful and impressive, with exciting lighting effects created by Lighting Designer Natasha Katz that literally made the audience jump with surprise at least three times during this fast paced and upbeat retelling of Jackson's life. 

The ensemble is rich in talent with tremendous performances led by Devin Bowles who doubles as Joseph Jackson and Rob, the “Dangerous” Stage Manager and impressively switches personalities from that of a controlling abuser to a kind, caring employee of Michael’s almost instantly without a hitch. Also striking in their supporting roles are Josh A. Dawson as Tito Jackson and Quincy Jones, and Anastasia Talley as Ketherine Jackson and Kate. Jaylen Lyndon Hunter's star also shines brightly as Little Marlon.

This is a production that rocks in every way and fine tunes even the smallest details to give us an incredibly memorable experience. This is also a production that was stopped a handful of times throughout the performance as the audience took to their feet in ovation.

With big performances from Michael from the “Dangerous” era to the Soul Train days of The Jackson Five, this is one mind-blowing, highly energetic, colorful, and unforgettable production. Oh, and the soundtrack is as good as it gets with favorites being performed one after another including “Bad,” “Smooth Criminal,” “Earth Song,” “I’ll Be There,” “Man in the Mirror,” and “Thriller” to name a few.

MJ the Musical is a must see that does the King of Pop right and wonderfully honors the superstar’s legacy.

I highly recommend this exciting, inspiring, and satisfying production to audiences of all ages who wish to enjoy a night of Jackson's timeless music performed by some of the most gifted musical theater actors I have ever witnessed on a Broadway in Chicago stage. 

MJ the Musical is being performed at the James M. Nederlander Theatre though September 2^nd. For tickets and/or more information click here.

THE LIGHT has a cast of two, placing enormous demands on both actors, but Jazzma Pryor as Genesis and Rich Oliver as her partner Rashad rose to the challenge splendidly. Under the direction of Tim Rhoze, Fleetwood-Jourdain Theatre’s Artistic Director, THE LIGHT is an in-depth examination of heterosexual relationships, particularly those between Black women and men.

THE LIGHT begins on a high and happy note: Rashad has bought an engagement ring to celebrate his and Genesis’ two-year anniversary. The felicitous evening hits a snag, however, when Genesis objects to an event Rashad has arranged for them. In trying to understand Genesis’ demurral, a dark incident from the past is exposed; its toxic influence escalates as details grudgingly emerge. The script is tight and compact, without superfluous elements – unusual for a play that is focused on emotions rather than actions.

Loy Webb’s brilliant script depicts a relationship crumbling before our eyes – and theirs! It’s written from a woman’s point of view, displaying the male animal’s archetypal bewilderment regarding issues of emotion. Women are from Venus, men are from Mars. Everybody knows that.

But THE LIGHT goes far deeper. Webb uses Genesis and Rashad to examine a wide host of emotions: how they arise, how they are perceived, how they are countered – and particularly how they diverge, even contradict, between female and male. Yet despite its gynocentric bias THE LIGHT manages not to browbeat or bully the other half of the species. Men in the audience – the ones I spoke with, any road – did not feel threatened, but acknowledged that Webb’s depiction was authentic and perceptive. Other men may have gone home to stick pins into pictures of their moms. One never knows …

THE LIGHT is also focused particularly on Black couples, emphasizing those flavors of misogyny peculiar to Black men, and the stereotypical images of both women and men in Black culture. Still, I found Webb’s insights to be more broadly applicable – tough to do, but Loy Webb manages in THE LIGHT.

A two-person cast has special challenges for the director as well as the actors, and Tim Rhoze did an exceptional job. THE LIGHT was more than simply a beautiful play; it was contemplative and thought-provoking; even disturbing. It illuminated aspects of my own life and relationships, including some I would rather have left in shadow. This sort of reluctant introspection requires an exceptional script, brilliant actors to bring the words to life, and shrewdly mindful direction to interpret and guide the whole.

The set is, of course, the first thing one notices upon entering the theatre, and I was instantly riveted. Co-Set Designers Tim Rhoze and Shane Rogers used minimal furniture and Costumer Lynn Baber followed his lead with simple clothing. Both measures helped prevent distraction from the stunning background painted by muralist Jess Patterson. Half a dozen abstract women’s faces in shades of blue and crimson set the atmosphere and provided the backdrop for Lighting Designer Hannah Wein to use the lights as almost a third character, particularly during the final moments of the show. Kara Roseborough was Sound Designer, as well as (with Assistant Alexis Harris-Dyer) maintaining global oversight as Stage Manager.

I’ve been consistently impressed by the performances at Fleetwood-Jourdain Theater. FJT has remained committed to its mission: to celebrate Black and African-American experiences through diversity and creative excellence. “Umoja! …. Working Together in Unity” is the foundation upon which FJT has built this exceptional venue. I saw AMERICAN SON in November 2022; my review begins: “You know that breathless moment of silence after the curtain falls and before the applause begins? That moment doesn’t happen often, and it always indicates a truly extraordinary performance.” This magic moment, this ultimate accolade happened again last Sunday at the close of THE LIGHT. Need I say more? HIGHLY RECOMMENDED!

THE LIGHT will play at Fleetwood-Jourdain Theatre through August 20.

The first time I read an Elephant & Piggie book I didn’t think highly of it. I thought they were too simple, too cliche. I read one, and didn’t pick up another. Every parent raved about these books. Every small child knew who Elephant & Piggie were, offering their recommendations of their favorite stories. It wasn’t until my own children picked Elephant & Piggie books up from the library – on their own – and started reading the simple words, following the simple storylines, laughing and giggling, that I grew to love these books. And I couldn’t wait to see the Elephant & Piggie in real life as they perform at The Marriott Theater in Lincolnshire.

Elephant & Piggie's "We Are in a Play!" is a story that celebrates Elephant & Piggie books written by award-winning, best-selling children's author, Mo Willems.In Elephant & Piggie's "We Are in a Play!", Gerald and Piggie take to the stage in a rollicking adventure that is perfect for young audiences. An elephant named Gerald and a pig named Piggie are best, best, "bestus" (a word Gerald and Piggie made up that means "very best") friends, but Gerald worries that something could go wrong that would end their friendship. Piggie is not worried at all. She's even happier and more excited than usual. That's because she and Gerald are invited to a party hosted by the Squirrelles, three singing squirrels who love to have a good time. And so begins a day when anything is possible. Starring the incomparable and stellar casting of Lillian Castillo (Piggie) and Lorenzo Roy Jr. (Gerald), Elephant & Piggie's "We Are in a Play!" is a perfect way to introduce young people to theater.

Parents and kids will immediately find themselves watching a real life storytelling of their beloved modern classics. From a fun invitation arriving for Piggie, an homage to "I am Invited to a Party!", to sweet moments of party prep lamenting a lack of rhythm, an homage to "Elephants cannot dance,” the play pulls from multiple Elephant & Piggie books, ensuring there is something for everyone. Coupled with smart writing (script and lyrics by Mo Willems), live bubbles, and dancing Squirrells you are watching literature come to life. The Marriott Theater continues to select engaging and relevant plays to produce for children’s theater. “We are in a Play!” was another success in many well curated seasons and will sure to be a crowd favorite.

Leaving the play, I listened to my kids provide Siskel and Ebert quality reviews of the play; what worked, what didn’t, and what was missing (it was the Pigeon!). They asked me my opinions and did not find them sufficient; “you only liked it? You didn’t love it?” And when we arrived home, they wandered off to the library and read every single Elephant and Piggie book we own. What a beautiful thing, to love to read about your favorite Elephant and your favorite Piggie. What a beautiful thing to read.

“We are in a Play!” is playing at the Marriott Theater in Lincolnshire and runs through August 13th. Tickets are available at www.MarriottTheatre.com.

“No Man’s Land” is vintage Harold Pinter: enigmatic, intriguing, remarkable word play, and loaded with laughs. Steppenwolf has given it a definitive production, set in the soaring library of Hirst, a British aristocrat litterateur who has picked up Spooner, an aging poet, at a pub earlier.

Descending into a scotch-soaked verbal tryst, the two launch into windy, pretentious fulminations on everything under the sun as they joust over the course of the two acts. At first, Spooner is in the ascendancy, and eventually Hirst.

It has been more than 45 years since “No Man's Land” was first produced, and here at Steppenwolf, we have a chance to see two of Steppenwolf’s finest in the prime of their acting capabilities: Jeff Perry as Hirst and Mark Ulrich as Spooner. Under the impeccable direction of Les Waters—his rendering of Sarah Ruhl’s “In the Next Room (or the vibrator play”) was exceptional—this is a definitive production.

Though critics have puzzled over Harold Pinter’s 1974 “No Man's Land” for decades, you do not need to understand the late British playwright’s intent to enjoy it. The audience was roiled with laughter throughout the first act, while the second, darker act is gripping as we watch for resolution that comes, but leaves us perhaps in the same predicament as the characters.

Two younger men, Foster (Samuel Roukin) and Briggs ((John Hudson Odom), self-described as amanuenses of Hirst, assist Hirst in the shifting power balance by intimidating and reining in Spooner. Then they join the party, drinking along with the older men. Hirst has all the cards: the money, the status, and these two aides to assist in his ultimate domination of Spooner.

In fact, this absurdist work offers no conclusions, just intimations of the existential inertia two late middleaged men feel as they cling to an idyllic sybaritic past while beginning to look at the void that lies ahead when they meet their end. Until then, they distract themselves as best they can with pretentions and word games.

I’ll venture this take on the meaning: Pinter has abstracted the dynamic of male competitiveness and posturing. The dialog, so complex that I am in awe at the actors’ mastery of the roles, expresses how two men establish who’s on top, who’s the alpha. We see this in sales meetings, in board rooms, in sports bars, and in “No Man's Land” in the library. That Pinter has captured this essence, the one-upmanship, the referential stature building, and the behavior change when the alpha emerges victorious - this is the art of the play.

Andrew Boyce earns plaudits for the monumental vision of a book-filled room: twelve rows of bound volumes line the walls from floor to ceiling, with spot-on wall paper and moulding, a cavernous space that focuses the action front and center. Sound design (Mikhail Fiksel) punctuates key moments shockingly yet appropriate to the script.

Highly recommended, “No Man’s Land” runs through August 20 in Steppenwolf’s Downstairs Theater.

I must admit, I knew nothing about Marie Knight or Rosetta Tharpe. It went over my head when they made an appearance in the critically acclaimed movie “Elvis”. Baz Luhrmann’s inclusion of Rosetta Tharpe and Marie Knight during the Club Handy scene with the likes of Elvis, BB King and Little Richard spoke volumes of her place in music history. Not only was Rosetta Tharpe a major influence on Elvis Presley, Jimmy Hendrix and Johnny Cash but the gospel guitarist practically discovered Little Richard, bringing him on stage for his first performance. “Marie and Rosetta” documents their lives together with a rousing, heartfelt production at Northlight Theatre.

It is 1946, Rosetta Tharpe is an explosive gospel singer and R&B performer,. After hearing Marie Knight sing, she tries to get the ingénue to create an act with her. “Sister” Rosetta needs Marie’s holier than thou credentials to “get back in the church folks’ good graces”. Her brand of gospel is infused with R&B and electric guitar riffs. She is a popular nightclub act and just as righteous as Mahalia Jackson, she just likes R&B. Marie Knight, on the other hand, is a traditional gospel singer with a powerful angelic voice. She is in awe of the older, popular Tharpe, but is unsure of the worldly music Tharpe calls gospel. This is their first rehearsal on the day of their first performance so naturally things must be sorted out before a duet can be made.

Playwright George Brant has done his research for this play with music, yet he hasn’t created a jukebox musical. There is a clear story being told here and the music is a bonus. Although, the play is heavy on exposition, it tells the beautiful relationship between these women and their influence on the music world. It is thought Marie and Rosetta’s relationship extended beyond the stage. Brant doesn’t straightwash this story. He has handled their relationship with the utmost respect. Brant does an interesting writing trick. It would be unfair to reveal it, but it has been on my mind since I saw the show. Brant has used spiritual songs like “This Train” and “Didn’t Rain”, as well as worldly songs like “I Want A Tall Skinny Papa” and “4 - 5 Times” to keep things hot.

E. Faye Butler is making a name for herself as a director. She is fresh off “Five Guys Named Mo”, a co-direction assignment with Felicia Fields at The Beverley Arts Center. It was excellent. Here, Butler is challenged with giving these characters emotional depth equal to their amazing voices. Challenge met. Butler has raised the stakes between these two women without losing the love and respect they had for each other. Their movements were instinctual, their emotions palpable.

This play is heavily dependent on excellent actresses. Not only must they sing well but they must be able to portray characters long gone from the collective psyche. Making these characters real was no easy task. Alexis J. Roston and Bethany Thomas by themselves knock your socks off, together they are a force of nature. They both engage us with their very different singing styles. Roston blesses the heavens with her symphonically precise tones. Thomas is like a hurricane, belting out the blues in all it’s various hues. They are accompanied offstage by Morgan E. Stevenson on piano and Larry Brown on guitar.

John Culbert’s scenic design coupled with the lighting design by Jared Gooding will be the subject of conversation for a while. McKinley Johnson’s costume design played a significant role. It’s always wonderful when set, lights and costumes enhance the characters presence and add depth to the overall production. Florence Walker-Harris is a joy, and her assistant director credit makes a wonderful show even more wonderful.

This play is highly recommended. Thank you Northlight Theatre for remembering these forgotten icons. You will leave the theatre joyful, filled with the knowledge of a rock and roll icons making a joyful noise to the Lord.

HIGHLY RECOMMENDED

When: Through August 6, 2023

Where: Northlight Theatre, 9501 Skokie Blvd.

Running time: 90 minutes

Tickets: $30. - $89 Student tickets $15.

Contact: northlight.org.

*Extended through August 13th

CYMBELINE? CYMBELINE?? I’d not even heard of Shakespeare’s CYMBELINE. Wikipedia admits it’s “one of Shakespeare’s lesser-know plays”. There’s a great deal of speculation on the whys and wherefores of its obscurity but now I know the answer: CYMBELINE has remained largely unknown because it hadn’t yet been played by Midsommer Flight.

There’s debate over CYMBELINE’s genre – tragedy? comedy? romance? – but Midsommer Flight’s Director (and founder) Beth Wolf is absolutely certain: CYMBELINE is a comedy, and a hilarious one! While staying true to the original script, she has directed the (superb) actors to make it incredibly funny by via expressions, postures, and gestures.

The storyline is as simple and convoluted as all The Bard’s plays. King Cymbeline (Barry Irving) lost his sons Arvirargus (Juliet Kang Huneke) and Guiderius (Logan UhiwaiO’Alohamailani Rasmussen), kidnapped in infancy and raised by Belarius (Jessica Goforth). Cymbeline is therefore determined to get a true-born prince by marrying his daughter Imogen (Ashley Graham) to dreadful prince Cloten (John Drea), royal son of his Queen (Talia Langman). Imogen, however, has fallen in love with and secretly married a commoner who was orphaned at birth and therefore named Posthumous (Keenan Odenkirk) [and they wonder if this is a comedy??]. King Cymbeline learns of the nuptials and banishes Posthumous to Italy, leaving Imogen to fend off the loathsome advances of nasty little Prince Cloten.

Meanwhile, the evil Queen plots to murder both Imogen and Cymbeline using a deadly poison concocted by Doctor Cornelius (Jillian Leff), But Cornelius, no stoopnagel, suspects funny business (the wrong kind) and hands over a harmless sleeping draft. The Queen passes the potion to Imogen & Posthumus’ loving servant Pisanio (Bradley Halverson), telling her it’s a medicine.

In Italy Posthumous meets Iachimo (Shane Novoa Rhoades), a dodgy sort of bloke with whom the gullible (not to say rather thick) Posthumous makes a most imprudent wager: Iachimo bets that he can seduce Posthumous’ wife Imogen snicker-snatch (erm … sorry, snicker-snack). Imogen retains her virtue, but Macho Man Iachimo can’t accept being trounced (Italian, remember?), and presents false evidence of her capitulation to Posthumous.

When Pisiano (the faithful servant who everyone confides in} tells Imogen of Iachimo’s treachery the irate young princess determines to find Posthumous and set the record straight. Imogen shows herself smarter than her boo by dressing as a boy for safer travel. She christens her trans self Fidele, for faithful.

Etcetera, etcetera, and so forth. I don’t think it’s much of a spoiler to disclose that, after various sophistry, skullduggery, knavery and chicanery, everyone is reunited, reinstated, and restored. All the bad guys are foiled, and a happy ending is had by all – all the good guys, any road.

Typical Shakespeare, yeah?

Jillian Leff as Doctor Cornelius in Midsommer Flight's 'Cymbeline'.

What’s not so typical is Midsommer Flight’s management of this gallimaufry.

This is the third year I’ve reviewed a Midsommer Flight production and I’ve been consistently impressed, but CYMBELINE was more than impressive – it was truly awesome.

Founded in 2012, it is Midsommer Flight’s mission to bring quality, accessible performances of Shakespeare to Chicago communities. Accessible is key here: too many people don’t bother to even try understanding Shakespeare’s vexatious language and convoluted plots. Midsummer Flight makes this intimidating material accessible at several levels: financially by offering all performances for free, culturally by casting diverse artists, textually by working with actors to bring iambic pentameter into comprehensible language, geographically by touring to different areas of the city, and physically by performing in public spaces – specifically, Chicago Parks. I saw CYMBELINE last weekend, July 14, in Gross Park. Each weekend they’ll perform Friday and Saturday night in a different park: Kelvyn Park at Logan Square, Nichols in Hyde Park, Lincoln Park, and Touhy in Rogers Park. Check Midsommer Flight’s website for details.

The performance is prefaced by the actors briefly outlining the plot to orient the audience to the play’s action; this Cliff’s Notes intro was really helpful. Midsummer Flight also offers musical diversion from a troupe of five minstrels (Jessica Goforth, Bradley Halverson, Juliet Kang Hunecke, Jillian Leff, Andi Muriel, and Aloha Rasmussen); there are also a few a capella songs, all composed and directed by Jack Morsovillo.

Scenic and Props Designer Jeremiah Barr manages the problems of an outdoor setting by wisely choosing Less is More. The sets, after all, will travel to several different open-air stages, so he keeps them starkly uncluttered. Likewise, Costume Designer Rachel M Sypniewski makes simple cloaks and mantles that can be donned in a tent, yet vividly distinguish the characters.

CYMBELINE, like all Shakespeare’s plays, includes quite a bit of intimacy and fighting (though the beheading occurs offstage), deftly directed by Maureen Yasko, Jillian Leff, and Chris Smith. Stage Manager Hazel Marie Flowers-McCabe, with assistant Ayla Sweet, keep the proceedings vigorous and vivacious without degenerating into pandemonium.

Special kudos to Text Coach Meredith Ernst! As I said earlier, making iambic pentameter comprehensible is a major problem with Shakespeare, but in CYMBELINE I heard and understood virtually every word. And congratulations, of course, to Director Beth Wolf and Assistant Christina Casano, who transformed an undistinguished and ambiguous play into a thoroughly successful comedy.

The actors, of course. They made innuendos and improper phrases irresistibly funny, using facial expressions, posture, gesture, and all the other tricks in an actor’s toolbox. A special shout-out is due to Jillian Leff, who made the stodgy Doctor thoroughly waggish. It takes a gifted actor to have the audience howling through her report from of the Queen’s deathbed.

Bradley Halverson’s Pisanio was also prime. Shakespeare doesn’t usually give much stage time to menial characters, but Pisiano was a key role, juggling allegiances from all-powerful King and Queen to beloved Imogen and Posthumous. 

My absolute favorite was John Drea as the ghastly prince Cloten. His comedic gestures hovered perilously close to slapstick – jumping up and down and shaking his fists like a tantruming toddler – but he remained safely high camp without descending into pratfall – hysterically funny but never Three Stooges.

Comedy was amplified by the actors often playing directly to the audience, winking to bring us in on a joke or making us complicit with an aside. This can be difficult to manage without breaking character or disrupting flow, but this cast pulled it off without a bobble – good work, Casting Director Karissa Murrell Myers!

Well, that’s about it for my review. In short: CYMBELINE by Midsommer Flight is absolutely marvelous – see it!! It’s playing through August at various Chicago Parks – find the one you want to visit and bring lawn chairs and a picnic, like at Ravinia.

But wait just a tic: in these perilous times I needs must append some commentary.

As MAGA condemns drag shows and bans books, they would do well to wipe the shelves of Shakespeare, for his plays are rife with gender fluidity. At the Globe all female parts were, of course, played by cross-dressing males, who enacted romance and desire with the other male actors – men kissing men right there on the stage OMG! Gender-swapping characters, like Imogen/Fidele in Cymbeline, are key in As You Like It, Merry Wives of Windsor, The Merchant of Venice, and of course Twelfth Night. Gender is also critically explored in tragedies like Hamlet and Othello, and Lady Macbeth’s dominance over her husband is totally discordant with societal expectation. Her cry, “Unsex me!” hints that Shakespeare found much amiss in Elizabethan society's dictum of “the natural order”.

Same-sex romance is acceptable in Shakespeare as well. In Twelfth Night, Duke Orsini falls in love with the young man Cesario, but is undismayed when ‘he’ is revealed as Viola (though he continues to refer to her as ‘boy’ during his proposal). Boy, girl … whatever, he wants it. His wife Olivia also falls for Cesario, largely because she admires ‘his’ feminine ways, and when she marries Viola’s twin Sebastian (believing him to be Cesario/Viola), he assures her that, like ’Cesario’, he is ‘both maid and man’.

The Buggery Act of 1530 made sodomy a capital offense and punishable by death, defining the rigid expectations of heterosexuality. Still, 17^th century England saw many examples of same-sex relationships: King James I and King William III, for example, each had several male lovers. We can assume that what went on in the King’s chambers was also happening in less august beds. After all, gender fluidity was a cornerstone of the Elizabethan rule. In her oration to the troops gathered to fight the Spanish Armada Elizabeth says, “I know I have the body but of a weak and feeble woman; but I have the heart and stomach of a king, and of a king of England ....” Good ol’ Liz. I’ve always liked her.

In high school I was fascinated with Henry VIII and his desperate attempts to wring a healthy boy from his pox-ridden testicles. Then his daughter, the child he disowned and condemned (not to mention orphaned) goes on to become one of England’s most revered sovereigns. Take that Henry, you misogynistic, mistaken, misanthropic, myopic, misguided monomaniacal monarch! I’ve always loved that by the time he got to his sixth wife Henry was actually henpecked – though his brain was tapioca by then; he may not even have noticed.

But I digress.

SEE CYMBELINE!! Even if … especially if you don’t like Shakespeare.

He’s everyone’s favorite optimistic sponge—and he has his own musical. Kokandy Productions' SpongeBob the Musical at the Chopin Theatre is the perfect family summer night out, or the perfect night out for any fan of Nickelodeon’s lovable Bikini Bottom characters.

With bright, colorful costumes and staging, this show is busy and fun to look at. All the blue fringe hanging from the ceiling makes you feel like you’re under the sea, and the costumes invoke the well loved cartoon characters while keeping the looks original and interesting.

(left to right) Frankie Leo Bennett, Sarah Patin, andIsabel Cecilia Garcíai nKokandy Productions’ The SpongeBob Musical. Photo by Evan Hanover.

Living in a pineapple under the sea has never been more stressful. SpongeBob and his friends, the dim-witted Patrick Starr and the bright-witted Sandy Cheeks, take on a volcano that’s about to erupt and threaten Bikini Bottom’s very existence. They get help (and hindrance) from their friends and frenemies, like SpongeBob’s boss Mr. Krabbs and his daughter Pearl, his eternally cranky neighbor Squidward, the Krusty Krabb’s nemesis Plankton and his personified computer wife Karen, plus ever-changing ensembles of other fan favorite background characters from the cartoon.

Normally known for their darker productions, like last year's Sweeney Todd, Kokandy Productions instead brings a bright, colorful, child-friendly story to the stage this summer. But like many of their other productions, there is a high level of inventiveness and physicality in the props and costumes. Directed by JD Caudill, Kokandy's SpongeBob the Musical is an energetic and animated production.

And a lot of that energy comes from the cast, with Frankie Leo Bennett as a lovable and quirky SpongeBob, Sarah Patin as a self-assured Sandy, and Isabel Cecilia Garcia as a dopey but well-intentioned Patrick.

(front, center) Quinn Rigg with (back, left to right) David Lipschultz, QuinnSimmons, Shane Roberie, Maddison Denault, Nicky Mendelsohn, Kelcy Taylorand, TommyBullington inKokandy Productions’ The SpongeBob Musical. Photo by Evan Hanover.

Though the entire cast from the stars to the ensemble are great, my personal favorite is Quinn Rigg as Squidward. Maybe it’s just that as I’ve gotten older I have more of an affinity for the character's cynicism, but Rigg impeccably pulls off the cartoon squid in human form—and even channels John Mulaney. Or maybe Squidward has always sounded like John Mulaney and this show just made me realize it. 

We all know and love SpongeBob, but what about the music? Instead of one composer or a composer + lyricist duo, the score of this show was written by a slew of famous artists, but not reusing their songs in a jukebox musical way. The songs are original, and each one is written by a different artist. There are songs by Panic! at the Disco, Sara Bareilles, T.I., Plain White T’s, David Bowie, The Flaming Lips, Yolanda Adams, Cyndi Lauper, John Legend, and more. So, whether you like the music will depend on what genre(s) of music you like. It takes you from pop to rap to folk to electronic.

It’s a wild ride.

SpongeBob the Musical is playing through September 3, 2023 at The Chopin Theatre. Tickets available at Eventbrite.