Items filtered by date: November 2007

Back by popular demand and bursting with harmony, MadKap Productions resurrected the beloved musical revue Forever Plaid for three jubilant encore performances at Skokie Theatre on August 16th and 17th. After its earlier-season success, this revival felt less like a return and more like a victory lap—richly earned and warmly welcomed.

If unfamiliar, Forever Plaid is a toe-tapping, heartwarming blast from the past that brings four lovable misfits back from the great beyond for one last shot at musical glory. Meet Sparky, Smudge, Jinx, and Frankie—four sweetly square guys with a passion for pitch-perfect harmony and matching plaid blazers. Just as their dreams of stardom are about to take off, fate throws a curveball (okay, a car crash), and their big break is cut short. But thanks to a cosmic do-over, the Plaids descend from the afterlife to croon their way through a heavenly setlist of 1950s hits like “Three Coins in the Fountain,” “Catch a Falling Star,” and “Love Is a Many-Splendored Thing.” What follows is a delightfully awkward, laugh-out-loud evening of music, mishaps, and mid-century magic as the boys battle nerves, forgotten lyrics, and the occasional nosebleed—all in perfect harmony.

But don’t let the retro kitsch fool you—Forever Plaid is more than just a jukebox joyride. It’s a love letter to friendship, second chances, and the kind of earnest charm that never goes out of style. With tight barbershop harmonies, hilariously clunky choreography, and a wink to the innocence of yesteryear, the show hits all the right notes. As the Plaids find their groove and rediscover the joy of singing together, they remind us that even the most unexpected encore can be a chance to shine. Whether you’re a sucker for nostalgia or just love a good harmony with a side of heart, Forever Plaid delivers a feel-good experience that’s equal parts goofy and glorious.

Directed and choreographed with pizzazz by Edward Lindham and musically supercharged by Jeremy Ramey, this production of Forever Plaid is a plaid-patterned rocket ride through retro heaven. Lindham leans gleefully into the group’s lovable awkwardness, turning every fumble and flinch into comedy gold, while Ramey’s musical direction keeps the harmonies tighter than a doo-wop group at a sock hop. The result? A toe-tapping, heart-thumping, harmony-hugging spectacle that’s equal parts sentimental swoon and vintage vaudeville—with just enough camp to keep things deliciously offbeat.

And the cast? LOVED each one of them! They don’t just hit their marks - they ignite the stage. Nick Arceo’s Smudge is the stealth standout, slipping in sly one-liners and velvety harmonies with the ease of someone who knows exactly how good he is. Sean M. G. Caron’s Frankie is a jitterbug of sincerity, radiating boyish wonder and crooning with a sweetness that could soften a soda fountain. Elijah McTiernan’s Sparky lives up to his name - he ricochets through the show with razor-sharp timing and a grin that dares you not to laugh. And Taelon Stonecipher’s Jinx? He begins as a whisper, but crescendos into a powerhouse—his final notes feel like a love letter from the afterlife, equal parts hilarious and haunting.

Together, they conjure a comeback that’s equal parts doo-wop séance and bromantic fantasia—a harmony-soaked hug from the great beyond, and utterly impossible to resist.

"Plaid-tastic!"

And if you've never been to Skokie Theatre, be sure to consider it as a great place to see a stage production. Since its establishment in 2010 by producer Wendy Kaplan and director Wayne Mell, MadKap Productions has played a pivotal role in the artistic revitalization of the Skokie Theatre. Upon assuming leadership of the venue in 2014, Kaplan and Mell transformed it from a dormant space into a vibrant cultural hub. Each season, MadKap presents a thoughtfully curated subscription series that spans a wide spectrum—from enduring theatrical classics to innovative contemporary works—ensuring a diverse and enriching experience for audiences of all tastes.

Having attended several of their productions, I can attest to the consistent quality and heartfelt execution that define MadKap’s approach. Their commitment to excellence extends well beyond the stage. Throughout the year, the Skokie Theatre remains active with an eclectic array of programming, including live concerts, comedy showcases, and popular community events such as the Skokie Idol competition and the Short Play Festival.

The venue itself offers an inviting and intimate atmosphere. With general admission seating, early arrival is recommended to secure a preferred location; however, the thoughtful layout ensures that every seat provides a clear and comfortable view of the performance.

Next up – Pippin, starting September 5th. 

For more information and tickets to upcoming events, visit https://gopher-halibut-ga77.squarespace.com/.

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

“How do we keep our balance?”

Posed in the very first moments of Fiddler on the Roof, this question receives an emphatic answer – Tradition! – by way of a high-energy opening number that immediately transports the audience into the heart of the 1900s Jewish-Russian village of Anatevka. Yet, as the story unfolds, keeping our balance proves easier sung than done. The show follows milkman Tevye, his wife Golde, and their five daughters as they navigate love, family, faith, and the growing tension between honoring tradition and embracing change.

Wonderfully directed by L. Walter Stearns, Music Theatre Works’ production brought this struggle for balance to life with both humor and heart to North Shore Center for the Performing Arts.

Sam Nichison perfectly portrayed Tevye’s nuance and conflicting motivations, shifting from scene to scene. At times, his bitterness over poverty and hardship bubbled to the surface; at others, he offered moments of genuine warmth and authenticity with his family. Alongside him, Golde, played by Mitzi Smith, was his perfect match – grounded and witty, with tenderness beneath her no-nonsense exterior. Together, they perfectly anchored both their family and the story.

Standout vocals seemed to run in the family, as Tevye and Golde’s three eldest daughters (Tzeitel, Hodel, and Chava played by Madison Uphoff, Elissa Newcorn, and Madison Jaffe-Richter, respectively) were each showstopping in their own respects. “Matchmaker, Matchmaker” was one of the rawest numbers of the show; all three actresses sounded excellent while also selling the charm of a true sisterly moment.

Visually, this production did it all. The simple and flexible set design (Bob Knuth) transported us through Anatevka, shifting seamlessly from humble home to wedding venue to dreamscape. The lively feeling behind every scene, as well as the fluidity in these transitions, could not have been achieved without the townspeople. The ensemble didn’t just inhabit spaces on a stage – they made the stage their village, filled it with energy, and created a sense of community that stayed with you throughout the production.

The Bottle Dance Dancers: (L to R) Daniel Hurst, David Sommer, David Geinosky, Erol Ibrahimović and Alex Villaseñor, in FIDDLER ON THE ROOF, presented by Music Theater Works.

This sense of community was never more evident, however, than in the choreography. Under Marla Lampert’s direction, the musical numbers incorporated traditional Yiddish and Russian styles with the grandeur and expressiveness of musical theatre. The athleticism and precision needed for any of these styles cannot be understated, but Jake Mickel, Daniel Hurst, Alex Villaseñor, and Erol Ibrahimović deserve special praise for their performances as Russian dancers. “Sunrise, Sunset” in particular radiated warmth, joy, and (yes) tradition, creating the true feeling of a Jewish wedding on stage. Achieving such a level of intentionality with a full ensemble on stage at once is hard enough, but Lampert was equally successful in conveying larger-than-life emotions in more intimate moments, such as in “If I Were a Rich Man” and “Miracle of Miracles.”

Musically, the pit orchestra was outstanding, but I’d be remiss if I didn’t shout out the titular character. The Fiddler’s (Emily Fischer) live violin stood out without needing to be up on the roof, adding an almost magical thread throughout the show. Sometimes playful, sometimes haunting, always essential; each appearance drew you in and made the village of Anatevca feel complete.

If there was one aspect of the production that occasionally pulled me out of the time and place, it was the moments of inconsistency in line delivery. The genuine connection across the cast shone through and added immensely to the show but occasionally tipped their quips and banter into a contemporary rhythm that felt a shade too casual for Anatevka’s early 1900s setting. It’s a small quibble in a production otherwise so committed to transporting the audience.

That said, what ultimately makes Fiddler on the Roof so enduring is its timeless resonance. You don’t have to share in Tevye’s traditions to understand the fear of losing something so precious, or the complex joy of watching someone you love – be it one of your five daughters or a friend – step into a new chapter.

The creative team understood the timelessness of this story deeply. In the final moments, the audience wasn’t just applauding strong vocals or impressive dancing; we were applauding our newfound sense of connection. Between the characters, the actors, and the audience. Between a century-old story and our own lives today.

Music Theatre Works' Fiddler on the Roof runs through August 17th at North Shore Center for the Performing Arts in Skokie. Tickets are available at www.northshorecenter.org/series/music-theater-works/.

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

Walking into the CIBC Theatre, the first thing any audience member will notice is Scenic Designer Dane Lafrey’s stage. We are unmistakably in a courthouse – with a platform at the center and various forms of seating surrounding it. For those familiar with the story, you might make the connection that the musical itself heavily revolves around a court case, and perhaps the creative team is leaning into that theme.

Then the lights dim down and the play begins. Director Michael Areden’s ensemble fills in the seats surrounding the platform. As the Prologue begins, you might find yourself struck by the sheer size of the ensemble. The stage is filled with people, and the sound of all of them coming together is gorgeous, but also certainly hits you. The beginning of the prologue features a young soldier saying goodbye to his girlfriend as he heads off to war. The two sit on the platform while the remaining ensemble simply watches from their seats. As you spend some time taking in this scene, you might also find yourself struck by the image of this couple being watched. The two share such an intimate moment, but they are far from alone. This is a directorial choice that continues throughout the production. No matter how intimate a moment may be shared on the platform, the surrounding seats are always filled with onlookers. At a certain point, you might even find that the line between audience on stage and those in the CIBC Theatre house begins to blur. 

Arden’s production feels like a success for a number of reasons. The cast as a whole is simply phenomenal. Jason Robert Brown’s music is stunning, including numbers that fans of the musical will recognize from “Real Big News” and “You Don’t Know this Man” to “Do It Alone” and “This is Not Over Yet.” The vocal talents alone were enough to earn the standing ovation surrounding me at the end of this particular performance.

Olivia Goosman, Jack Roden and company in the National Tour of PARADE.

Alfred Uhry’s book is powerful and delicately handles a story based on actual truth. At the center is a newly-wed Jewish couple living in Georgia – Leo (Max Chernin) and Lucille (Talia Suskauer) Frank. When Leo is accused of murdering the young Mary Phagan (Olivia Goosman), the couple is forced into a journey full of the harshest obstacles that unfold over the course of years. As they move through the trial and the many attempts to re-open a highly skewed and biased case, the couple is forced to question their outlooks toward their faith and how justice plays a role in this world.

Chernin and Suskauer shine - particularly in how they bring life into this challenging relationship. The two are forced to come together very quickly for a couple that has only been married for a short time. Over the course of the musical, we witness a deep love form as the two learn to trust each other. The performers fill this story line with a grounded honesty with which it is impossible not to fall in love.

However, that which truly pushes this production over the top is Arden’s vision that directly connects the story to the historical context. Whenever a new character is introduced, Projections Designer Sven Ortel fills the screen at the back of the stage with the real-life image of that individual. Leo and Lucille Frank. Mary Phagan. Newt Lee. Governor Slaton. As more and more images fill the back of the stage, it becomes hard to forget that every major event that occurs in this story truly took place – from the death of a young girl, to the accusation of an innocent man, and to all of the hateful lies thrown his way simply because he was an “other.” The events of this story occurred in 1913, and the case has yet to be officially solved in the present day of 2025. You might find that witnessing the actual historical figures makes that truth a bit tougher to swallow. You might also find that as the story unfolds, that truth makes you increasingly more uncomfortable joining the onlookers in the seats on stage. Regardless of what Leo and Lucille may desire, we are always watching and always judging. Not only does Arden cleverly tie in the historical context, but he also connects the material into the present day.

A stunning score, talent-studded cast, and thought-provoking take make this production of Parade a must-see.

HIGHLY RECOMMENDED

Parade runs through August 17, 2025 at the CIBC Theatre. For tickets and information, see the Broadway in Chicago website.

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

Notable New York playwright Stephen Adly Guirgis’s 2000 breakthrough play, “Jesus Hopped the 'A' Train,” is receiving a dynamic revival at City Lit Theater, with a fantastic cast delivering excellent  performances and inventive staging, all under the direction of Esteban Andres Cruz. Guirgis went on to win a a Pulitzer Prize in 2015 for his celebrated work, “Between Riverside and Crazy.”

Berwyn-born Cruz has a history working with Guirgis, and played the role of Angel Cruz in a 2008 Raven Theatre production for which they received a Jefferson Award. Now Cruz is guiding a brace of accomplished actors in Guirgis’ drama, along with 2024 University of Michigan graduate and relative newcomer Lenin Izquierdo, “an angel sent to us from heaven,” says Cruz. “He just had the beautiful thing about his heart that you can’t teach or fake.”

Izquierdo has the lead role that Cruz played, the young Latino Angel Cruz, who wounds a cult leader—Rev. Kim—who he believes is stealing away with his friends and family, and their money. Angel is arrested and sent to Rikers Island to await trial. When Rev. Kim dies from complications following surgery, the charges rise to murder. “Jesus Hopped the ‘A’ Train” thus carries the inherent dramatic tension of a jailhouse drama, and a courtroom trial.

Maria Stephens as Mary Ann

Guirgis’ play is structured in two acts, with a series of interconnected vignettes that allow each of the characters to deliver exposition, and full portrayals of themselves. Sometimes the vignettes feature a single character, or Angel paired with another—the sadistic guard Valdez (Manny Tamayo is stunningly good as an unvarnished tyrant); the court-appointed lawyer Mary Jane Hanrahan (Maria Stephens in a knock-out performance); the sympathetic guard D’Amico (Michael Daily brought me to tears); and Luscius Jenkins (Bradford Stevens) in a demanding role as a fellow prisoner, a convicted serial killer awaiting execution.

Lenin Izquierdo as Angel (left) and Manny Tamayo as Valdez

Scenic design by Tianxuan Chen is surprisingly effective in its minimalism: layers of canvas graffitied and draped as backdrop to an open stage. A backlit scene (lighting by Josiah Croegaert) is very striking representing off-stage prisoners tormenting Angel. Several scenes stay lodged in my mind: Angel Cruz forlorn in his cell, struggles in his first night in prison to recall the Lord’s Prayer, as prisoners taunt and complain in the background; the empathic guard D’Amico recounting his witness of an execution; Angel’s vivid recollectionis of the joyful play with his friends in the days of his youth.

With all its strengths, “Jesus Hopped the ‘A’ Train” falters perhaps on the basis of script: we get a little too much of the ravings of Lucius the serial killer, and the closing scene of the play seemed more like a diversion than a resolution.

“Jesus Hopped the ‘A’ Train” runs through September 27 at City Lit Theater in Chicago. It comes highly recommended.

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

Earlier this summer, The New York Times asked its readers to submit their lists of the top 100 films of the 21st century. Scrolling through social media, it was clear the 2001 French film ‘Amélie’ was a millennial fan favorite. A whimsical rollick through Montmartre seems like ripe fodder for a musical these days so it’s no surprise the film was adapted for the stage in 2017. While not exactly a huge hit during its original New York run, Kokandy Productions sets the record straight with their Chicago debut.

If you took French in high school or college during the early 00s, chances are you’re familiar with the quirky character famously played by Audrey Tautou. With a show like this, your production can only be as good as your Amélie. Aurora Penepacker brings the character to life in a charmingly familiar way but with her a voice that is altogether unique and powerful. Amélie might be timid, but in this version her voice is anything but. Her romantic counterpart Nino is played with bittersweet sincerity by Joe Gionvannetti. Their chemistry is undeniable.

By now there is growing fatigue of Broadway musicals adapted from beloved films. A big reason is that often the music feels somewhat secondary, but Daniel Messeé’s whimsical score stirs up all the same kinds of emotions the movie does without oversimplifying the plot. The songs are woven into the plot and take the audience even deeper into Amélie’s rich inner world. A lively cast of actors and musicians provide just the right ambiance to feel whisked away to Paris for the evening.

The world of ‘Amélie’ at the Chopin Theatre is a very beautiful one. Kokandy Productions has the perfect space for director Derek Van Barham’s vision for this show. Nestled in the basement theater, Amélie’ is staged in a way that makes audiences feel as if they’re sitting in the cafe where Amélie works. Those who have been to the Chopin Theatre in Wicker Park will recall their “cottage core” aesthetic rich with antiques and shabby-chic furniture. Van Barham’s staging makes for an immersive experience that also really serves the emotional tone of the show.

With ‘Amélie’ Kokandy Productions proves again what makes Chicago such a thriving non-equity theatre scene. Creativity and talent intersect with their revival. There’s a world in which an ‘Amélie’ musical could be the cringiest thing to ever trod the boards, but instead Van Burham goes for something more authentic. His version has found a refreshing balance of the artful and the wistful. Haven’t seen ‘Amélie’ the film? No problem. The script by renowned playwright Craig Lucas is a succinct retelling without subtitles. If you’re feeling a little nostalgic for the twee early 00s, ‘Amélie’ is a lovely stroll down memory lane. 

Through September 28 at Kokandy Productions at The Chopin Theatre. 1543 W Division St. 773-278-1500

*Extended through October 19th!

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

Uptown Music Theater Highland Park hits all the right notes with their electrifying staging of Hairspray - a radiant production bursting with kinetic energy and a message that feels as relevant today as it did in the 1960s. Under Tor Campbell’s dynamic direction and deft choreography, the show dazzles with retro flair, reimagining John Waters’ cult classic into a kaleidoscope of color, sound, and joy.

Set in Baltimore’s swinging ‘60s, the story follows Tracy Turnblad, a teen with sky-high hair and sky-higher hopes, whose winning moves and spirited charm earn her a spot on the Corny Collins Show. But Tracy’s dance floor debut sparks more than fame—she becomes a beacon of change, confronting segregation and defying conventional beauty standards with boldness and heart.

Beneath the glittering costumes and high-octane choreography, Hairspray hums with sharp-witted satire and a powerful call for inclusion. At its emotional core is Edna Turnblad—portrayed, in true tradition, by a man in drag—whose journey as Tracy’s mother weaves humor and heart into the show’s celebration of self-acceptance. From the dreamy swell of “I Can Hear the Bells” to the adrenaline rush of “You Can’t Stop the Beat,” the production dazzles with theatrical flair while staying rooted in its message: that joy, justice, and rhythm are revolutionary forces in the face of convention.

Taking place at Highland Park High School, scenic designer Bob Knuth absolutely goes off and transplants theatregoers into the early 1960s incorporating even the tiniest details of that mod era into his set. The visuals are complimented by Ben Argenta Kress, who deftly fashions the costumes that really recreate the youthquake movement. If, like myself, you love the style of the early 1960s, you are in for a big treat.

Scott Spector (Edna) and Grace Hall (Tracy) in 'Hairspray'. 

Grace Hall radiates charisma and talent in the role of Tracy Turnblad, winning over the audience almost instantly with her spirited performance of “Good Morning Baltimore.” From that opening number onward, Hall proves irresistible - charming, confident, and utterly delightful. Her portrayal not only anchors the show but makes Tracy’s journey feel personal and empowering.

The cast surrounding her is nothing short of exceptional, each performance adding texture and warmth to this buoyant production. Lily Ramras brings sweet sass and impeccable timing as Penny Pingleton, Tracy’s quirky best friend, while Erin Kelly gives a wonderfully neurotic turn as Penny’s uptight mother, Prudy. Abraham Deitz-Green dazzles as love interest Link Larkin, showcasing smooth vocals and slick dance moves that light up the stage. Ajene Cooks as Seaweed J. Stubbs is a showstopper - his graceful, razor-sharp choreography and rich, emotive voice makes each of his scenes feel electric.

Scott Spector delivers a riotously funny and heartfelt portrayal of Edna Turnblad, balancing outrageous humor with surprising vulnerability. As husband Wilbur, Corey Mills holds his own beautifully, drawing laughs with his understated charm and seasoned comedic instincts.

Sharon Miles brings soulful gravitas as Motormouth Maybelle, her vocals soaring with both power and emotional nuance - she stops the show in the best way possible. Ethan Lupp brings irresistible pep and charisma to Corny Collins, while A’mia Imani charms as the spunky Little Inez, adding vibrant energy to every scene she’s in.

And the hilarious mother-daughter antagonists, Velma and Amber Von Tussle, portrayed by Emma Jean Estlund and Rebecca Mactaggart respectively, are a gleeful spectacle of comic flair and exaggerated villainy. Their performances strike just the right balance between camp and conviction, elevating the production’s satirical edge.

The dancing is as tight as it gets and the vocal efforts are admirable, thanks to an amazing ensemble that is positively fun to watch. Put it all together and we have one heckuva production!    

“This cast is electric,” said Director Campbell. “They’re not just learning steps—they’re channeling the heartbeat of a movement. Hairspray might be wrapped in beehives and bops, but it’s about what it takes to be seen, to be heard, and to break through. This isn’t just a show—it’s a joyful rebellion.”

Since its Broadway debut in 2002, Hairspray has transcended its status as a feel-good musical to become a vibrant cultural touchstone. With the infectious energy of its early ’60s setting, it boldly tackles issues of race, body image, and social justice—shining a spotlight on the entrenched inequalities of the entertainment world. Tracy Turnblad’s transformation from eccentric teen to fearless activist echoes the spirit of the Civil Rights Movement, challenging audiences to confront the biases that linger beneath today’s bright lights and big stages.

What elevates Hairspray beyond standard musical fare is its ingenious blend of breezy fun and pointed activism. Through catchy tunes and unapologetic camp, it makes complex social issues—race, representation, body image—accessible without losing their emotional bite. Motormouth Maybelle anchors the story with soul and gravitas, voicing resilience and hope with every powerhouse note. And when the Corny Collins Show bursts into full integration, it’s not just plot resolution - it’s a euphoric emblem of youthful rebellion and transformative spirit. Hairspray reminds us, with glitter and grit, that joy can be revolutionary and identity unapologetically bold.

Highland Park High School’s theater is a wonderful venue for theatrical productions, especially one like this with such a large cast and a 20-plus-piece orchestra led by Aaron Kaplan. Inside, every corner radiated charm, cozy enough to feel personal, grand enough to feel electric. When the lights dimmed and the music sparked to life, the whole theater seemed to take a collective breath. And as the performers lit up the stage, the room itself responded, alive with applause and laughter, while soaking in the whole-hearted moments. I didn’t just watch the show—I got swept up in it.

It’s a shame the run was so brief—just two weekends, wrapping up on August 3rd—because I would’ve loved the chance to experience it all over again. That said, Uptown Music Theater Highland Park left an indelible mark. Their production was so polished and heartfelt, it’s made me genuinely excited to see what they deliver next. They’ve certainly earned a spot on my radar. For more information on this fantastic theatre company, visit http://www.uptownhp.org/.

Highly recommended for audiences of all ages!

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

Sometimes we can’t fully appreciate the giants who walk among us until we have the chance to view them and their achievements through hindsight. In the case of tennis great Billie Jean King, that process is being bolstered through the arts. Now playing at Chicago Shakespeare Theater (CST), a powerful and unabashedly joyful retrospective of King’s life portrays a woman initially driven simply by a thirst for winning. As the story about her grows and her life begins to take shape, winning remains a driving force, but fairness and equality soon join it to ultimately define the full scope of her destiny.

The first female athlete to receive the Presidential Medal of Freedom, the nation’s highest civilian award, and with enough Grand Slam tennis titles and Wimbledon victories to keep her emblazoned in the record books for centuries, she’s now an icon in the truest sense of the word. She’s also at that stage of life when one considers how they will be remembered. When approached about a project focusing on her life, King was open to a play. What surprised playwright Lauren Gunderson is that she was recruited to write Billie Jean, the theatrical sensation currently premiering at CST.

Although Gunderson may have been startled by her selection, the choice couldn’t have been more ideal. Not only is she the one most produced contemporary playwrights in the country, but her work is also very often women centered with the express intent of highlighting the contributions of the less seen and unseen. Most commonly too, her vantage point is usually historical. In this effort, she would be working with a living national treasure to present a truthful and moving account of the valleys as well as the mountains of a highly notable life. Her prodigious writing prowess along with Marc Bruni’s masterfully perceptive direction turn Billie Jean into a celebration of being who you are and staying true to one’s core convictions.

You see King at her most pure shortly after the play’s splashy adrenaline-stirring intro and a little firecracker lights up the stage in the form of Julia Antonelli as a young Billie Jean. As precocious intellectually as she soon proves to be athletically, the pre-pubescent tennis wonder is an observant keg of energy with plenty of questions and more than capable of making her own keen deductions about the world she lives in. Once she dips her toe into the sport of tennis, she’s hooked and hungers to get better so that she can win. Her drive to become the best at what she does makes her ceaselessly inquisitive. When she crosses paths with Althea Gibson, one of the first black women to push aside the color barrier in international tennis and the first to win a Grand Slam, the trailblazer shares nuggets of truth that will stay with the youngster for the rest of her life. Pearls like trusting yourself first and that despite hardships, obstacles and hurdles, “winners find a way”.

That phrase becomes a mantra, in addition to nuggets like “one ball at a time” and “pressure is a privilege”. They keep bubbling up whenever a setback threatens or doubt begins to loom in this very fast paced production that makes a NASCAR race look like a sad jalopy crawl around a beat-up track. Wilson Chin’s scenic design bubbles over with the green of a lush grass tennis court. Joined by David Bengali’s splendid projections and videos to enhance both intimacy and excitement, the show’s production components are nothing less than stunning.

Despite being a world celebrity and cultural exemplary for over half a century, there’s probably only a small percentage of the public who’re familiar with the fact Billie Jean King was once Billie Jean Moffitt. Married to Larry King in her early 20s, well before she achieved the fame she enjoys today, aspects of her private life are as fascinating as her career in tennis. Gunderson’s honest penetrating writing, coupled with Chilina Kennedy’s superb performance as King, exposes the heroic internal growth the tennis star experienced outside the limelight as well as in. It’s an aspect of her story that proves every relationship is supremely unique.  The two decades she spent with her former husband testify to how poignantly inscrutable so many marriages can be.  Through his portrayal, Dan Amboyer as Larry King brought a level of compassionate regard to his role that one rarely has a chance to witness on stage or screen. Those scenes depicting Billie Jean King the person give expression to the play’s heart. The ones that recall King’s advocacy unleash its fire.  

Outrage doesn’t always spur action.  It did for King. Incensed that as the top performing player in her sport, she was not being justly compensated because of her sex, initially drew her ire. That pique then turned her into a tireless proponent for pay equity in sports. The legitimacy of her cause took time to take root and withstood considerable opposition before it gained traction. It was the prelude to the historic battle of the sexes in 1973 when King defeated Bobby Riggs in three straight sets. The victory was enormous and brilliantly brought back to thrilling life in Billie Jean.

When King fell in love her wife, Ilana Kloss, she had to make a choice. She’d already defended the right of transgender athlete, Rene Richards, to play in professional women’s tennis. Realizing it was necessary to show up with the same kind of bravery for herself, she set a standard for how to achieve true self-actualization. That model continues to inspire legions today.  

In Billie Jean, a lot more aspiring winners are handed the blueprint for finding their way through the transformative power of the arts.

Billie Jean

Through August 10, 2025

Chicago Shakespeare Theater

Navy Pier

800 E. Grand

Chicago, IL  60611

https://www.chicagoshakes.com/

Highly Recommended

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

When an opportunity arose to see a sneak preview of a new musical about President Barack Obama, there was a clash amongst younger generations to see who would get the chance to see it. Though it has been nearly two decades since Barack Hussein Obama was inaugurated into his first term, the allure and awe of the man still resonates to this day. His presidency was a historic event, a pivot point for our nation marked by hope and positivity and grace under pressure. It was no surprise to me that so many writers jumped at the opportunity to see a sneak preview about 44 – The Musical about the former beloved president.

Barack Obama’s election changed history. And as we can clearly see, it also ended racism forever! But 44 is the story of Obama you won’t read about in the history books…because history books are now banned in most states. But also because 44 is the story of Obama as Joe Biden kinda sorta remembers it.

44 – The Musical is a satirical, unofficial, and unsanctioned musical about the rise and presidency of Barack Obama, told from the perspective of then Vice President Joe Biden. It boasts itself as a satirical political musical featuring over twenty original songs with titles such as “M.F.O.”, “F*&# You Ted Cruz”, and “How Black is Too Black.” In the few musical numbers showcased, it was too difficult to discern whether this musical is anything more than a cash-money grab capitalizing on the nostalgia and love of the former president. The musical numbers performed featured tag lines repeated ad nauseum during Obama’s terms, mother-f*&#ing-Obama, there are no red states or blue states, they even showcased a stereotypically campy comedic relief with a ‘sleepy’ Joe Biden narrating the events.

The musical was written and directed by former Obama campaign staffer Eli Bauman whose wry and acerbic comedic styling was evident even in the brief showcase. From the beautifully shot B-Roll footage and hype videos played, one would think this musical is poised to become the next Broadway darling. There is no denying the talent of the actors and singers, belting out beautiful riffs and runs that tickle your brain, but there doesn’t seem to be much substance for them to work with.

44 – The Musical strikes me as a satirical farce written with good intentions but lacking depth and meaning. Stereotypes seem to abound in the musical, and it appears to be banking on Chicagoans' love and admiration for Barack Obama to draw people through the doors of the Studebaker Theatre. It’s tough to say how the musical will be received in the competitive Chicago Theatre scene. There’s no shortage of talented writers in the Windy City, shows that start on time, and plays and musicals that leave you wanting more. It’s not clear whether 44 – The Musical will be a one-term or two-term play, but it’s safe to say it hopes for the best. 44 – The Musical will be playing at The Studebaker Theatre (410 South Michigan Avenue Fine Arts Building, Chicago, IL) in a limited run from August 23-September 21, 2025. Tickets are available at www.44theobamamusical.com/tickets.

Fans of highly intellectual and nonlinear storytelling will love INCOGNITO. Playwright Nick Payne is known for plays with inventive narrative structures and deep philosophical inquiry—qualities that are clearly in evidence in INCOGNITO. This production is the Chicago debut of INCOGNITO; across the Pond the work has been praised for the innovative storytelling with which it probes memory, genius and identity.

Payne’s ‘inventive narration’ and ‘innovative storytelling’ are very much evident in INCOGNITO. Approximately twenty characters are enacted by a cast of but four: Teddy Boone, Shannon Leigh Webber, Erin Alys and Riles August Holiday. Though I found the nonlinear script difficult to follow, I was never in doubt as to which character each actor was portraying.

Incognito moves shapelessly across space and time, interweaving three independent storylines. One plot focuses on the pathologist who performed the autopsy of Albert Einstein. In doing so he extracted Einstein’s brain, which he stored variously in the trunk of his car, in the basement, and in a jar of formaldehyde. I was unable to discern exactly why he did so or what purpose he intended for this heirloom; presumably he simply wanted to have it, not necessarily use it. Anyone who shops on Amazon as zealously as I do will understand this. Contiguous plots involve Einstein’s descendants, whose views on this management of their august ancestor’s residuum range from horror to enthusiastic endorsement.

It's my private hypothesis that one factor supporting the cast’s proficiency at managing multiple roles is the broad variety of skills each of them brings to the stage.  Shannon Leigh Webber, for example, not only acts herself but also teaches drama in primary schools (which sounds like fun to me, though I appreciate that not everyone will share this view). Erin Alys is an actor, an intimacy director and an educator, while also a stunt performer and fight director, focusing on found objects and unarmed combat [reading this, I couldn’t help but wondering if she works with Babes With Blades]. My companion and I were both deeply impressed by the actors’ expertise at playing several very different roles.

The production team was also superb. Designers of Costume (Kasey Wolfgang), Lighting (Jack Goodman), and Sound (Alex Kingsley), with scenic designer Marcus Klein, cooperated seamlessly to fashion a smooth professional production. I especially admire Stage Manager Joey Bluhm’s backstage prowess; there was often less than five seconds between scenes, with actors streaming onstage from all sides in total darkness. I’ve never been a Stage Manager, but it’s my naive belief that this sort of opuscule [great word, huh? I do so love words!] is a Stage Manager’s nightmare: a small cast, playing many characters, entering a vacant stage through disparate portals … oy!  How does one keep track and be sure everyone is where they need to be when they need to?

I said a ‘vacant’ stage; far from disparagement of Scenic Designer Klein’s proficiency, I am, rather, commending their restraint.  Dozens of props, furnishings, amenities and accoutrements could have been used, but Klein chose minimalism:  just two straight chairs … and a table? Was there a little table? I don’t remember … and that is, to me, a huge accolade; one should remember what took place on the stage rather than what was placed there.

Tin Drum Theater company was formed by Steve Needham and Jason Palmer, who are also Producer and Director of INCOGNITO, respectively. This sort of ‘inbreeding’, characteristic of Chicago’s ‘black box’ theatres, is, in my view, a strength. Theater is intimate by its very nature, with cast and production team enriching one another as they collaborate and interact. Though some may argue against such endogamy in the creative process, it is my view that diversification can only assist with the legion of elaborate procedures necessary to bring a show from script to stage.

Starlings are used in INCOGNITO as poetic symbols. Each individual bird communicates with just a few neighbors, yet together they form vast, seemingly choreographed, flights. In this context, starlings represent the illusion of free will and the fluidity of identity: neither can be formed in isolation, but solely through connection with others. The Director’s Note states: Even if we are shaped by memory, emotion, and electrical impulses, we are also shaped by choice, by connection, by the stories we live and the love we give’, concluding, ‘Yes, you are a figment of your own imagination’. I think that’s tres cool.

INCOGNITO is not for everyone; I don’t recommend it for either your kids or your grandparents. If, however, you would like to be ‘challenged, provoked, and inspired’, INCOGNITO by Tin Drum Theater is definitely for you!

Playing through August 3 at Theater Wit, 1229 W Belmont

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

Do we ever really know what someone is going through? We devour what people create, savoring the beauty in their art; we read the words they write, feel the emotions they convey, listen to the music they play, but do we really know what is just beneath the surface? One is left asking this question after viewing the masterpiece that is Twisted Melodies now playing at Northlight Theatre.

Flashback to 1979, when singer and composer Donny Hathaway was a soul music icon, known for R&B hits and his duets with Roberta Flack. Twisted Melodies is a mesmerizing one-man show that immerses us in a day with the brilliant artist, who seeks solace in the music that has always been his salvation. Powerful renditions of songs like “More Than You’ll Ever Know,” “The Ghetto,” and “The Closer I Get to You,” illuminate the enduring power of this talent. Torn between inspiration and his ongoing inner struggle, Hathaway grapples with his life in a gripping performance by Kelvin Roston Jr.

Unlike jukebox musicals that celebrate the life and music of the artist it portrays (think Jersey Boys about the Four Seasons or Just In Time about Bobby Darin), Twisted Melodies offers a new approach to viewing Hathaway’s life and career. We’re with Donny as he isolates in a hotel room, recording music. We learn about his life through captivating stories told from the first-person perspective. We hear his music sung by Hathaway as he recalls the people or events in his life that inspired the songs. We experience, even momentarily, what Donny must have experienced in his life, living with schizophrenia with visual distortions and haunting voices. The first-person storytelling of Hathaway’s life reveals the man behind the artist we know, his personality, his solace, and his demons. The play is not only an homage to the singer-songwriter’s life. “Twisted Melodies is a labor of love,” says playwright and performer Kelvin Roston Jr. “It’s much more than a solo jukebox musical. I chose Donny Hathaway as my muse for his amazing music and musicianship, yes, but also because of his struggle with paranoid schizophrenia. We generally ignore, make excuses for, hide, or even make fun of those dealing with mental illness. Donny Hathaway left an incredible amount of himself and his struggles in the lyrics he wrote, the notes he played, and the tones he bent and swelled with as he sang.”

Twisted Melodies perfectly captures the beauty and struggle of the late artist, and Roston Jr. belts Hathaway’s ballads with such reverence and respect, creating beautiful harmonies and scales that tickle your brain as beautifully as Roston Jr. tickles the ivory, playing throughout the one-man show. Roston Jr.’s tones and range capture the fire and the fury of Hathaway’s genius, challenging the audience to see beyond the notes and see what the artist was going through on that fateful night in 1979. Donny Hathaway tragically passed away at only 33 years old in a rumored solo exit performance of his own. The Chicago-born artist left behind a legacy that influenced or inspired dozens of modern-day artists, including Elton John and Amy Winehouse. Hathaway was even named the 49^th-greatest singer of all time in a 2010 list published by Rolling Stone Magazine.

It's tragic how we often don’t know what someone is going through until after the person is no longer with us, particularly when it comes to something like mental health. But what a blessing it is to know that a story like Twisted Melodies can help to remind us that we’re all going through something. Like Donny Hathaway, we can find our solace, our stories, and ourselves in the things we create, using our art to help others understand what we are going through. Twisted Melodies runs through August 10^th at Northlight Theatre (9501 Skokie Blvd, Skokie). Tickets for Twisted Melodies are available at www.northlight.org