Items filtered by date: November 2007

Keith Urban’s High doesn’t just flirt with genre - it throws open the doors and invites country, pop, rock, and soul to the same smoky bar. It’s a record that pulses with emotional electricity, blending introspection and exuberance in equal measure. Urban’s voice - still golden, still agile - acts as both compass and confessional, guiding listeners through a landscape of heartbreak, freedom, and late-night abandon with the ease of someone who’s lived every lyric.

This isn’t an album that seeks symmetry. It’s not polished to perfection or bound by thematic neatness. Instead, High thrives on its contrasts: the tension between swagger and sincerity, between chaos and clarity. Urban isn’t chasing cohesion - he’s chasing connection. And in that pursuit, he delivers some of his most compelling work to date.

Let’s talk about three tracks that don’t just anchor the album - they ignite it.

“Straight Line”

If High were a road trip, “Straight Line” would be the moment the engine roars to life and the windows roll down. It’s a kinetic, full-throttle anthem that channels the spirit of Urban’s early hits like “Days Go By,” but with a deeper urgency - less youthful wanderlust, more deliberate escape. The song is a rally cry for anyone who’s felt stuck in the static and is ready to chase motion, meaning, and maybe a little madness.

The guitar work is lean and propulsive, the chorus tailor-made for stadium echoes, and Urban’s delivery is infused with a sense of earned liberation. It’s not just a song - it’s a reclamation. A reminder that joy isn’t passive; it’s something you have to chase, even if the road ahead isn’t paved.

“Straight Line” doesn’t just open the album - it defines its emotional architecture. It’s the heartbeat that pulses through every track that follows.

“Messed Up Like Me”

Here, Urban trades the open road for a dimly lit room and a brutally honest mirror. “Messed Up Like Me” is a slow burn - seductive, shadowy, and emotionally raw. It’s the kind of song that lingers long after it ends, not because it’s catchy, but because it’s true. Urban explores the wreckage of a toxic relationship with aching vulnerability, capturing the paradox of two people who are wrong for each other but right in all the wrong ways.

The production is sleek and moody, with a haunting undercurrent that mirrors the dysfunction. Urban’s vocals are stripped down and intimate, as if he’s whispering confessions into the dark. It’s one of the album’s most emotionally resonant moments - a ballad that doesn’t beg for sympathy, just understanding.

As Urban put it, it’s about a relationship where “only one good aspect” keeps them tethered, while everything else is unraveling.

“Go Home W U” (feat. Lainey Wilson)

And then there’s this glorious detour into honky-tonk heaven. “Go Home W U” is a duet that doesn’t pretend to be romantic - it’s rowdy, bluesy, and unapologetically impulsive. Lainey Wilson brings fire and flair, trading verses with Urban in a playful, whiskey-soaked back-and-forth that feels like a flirtatious barroom dare.

The chemistry is electric, the groove infectious, and the vibe pure neon mischief. It’s a song for sticky floors, bad decisions, and the kind of night that ends with laughter and regret in equal measure. The psychedelic-tinged music video only amplifies the chaos, turning the track into a visual fever dream of flirtation and freedom.

Urban said it began as a late-night drum loop and evolved into a chorus “that could be sung by any drunk person in any bar anywhere in the world.” Mission accomplished.

High doesn’t posture or preach - it confesses. It trades profundity for authenticity, and in doing so, uncovers something far more compelling than polish: truth. Whether Keith Urban is reckoning with past regrets, chasing the rush of reinvention, or simply strumming his way through the chaos with a grin and a guitar, he’s never felt more grounded, more vulnerable, more alive.

The album’s brilliance lies in its refusal to play it safe. It doesn’t follow a straight line - it zigzags through joy and wreckage, swagger and sorrow, impulse and introspection. It’s a celebration of the beautiful mess that lives between heartbreak and healing, between the thrill of the moment and the weight of memory.

This isn’t a tidy journey. It’s a wild ride. And Urban doesn’t ask you to hold on - he dares you to let go.

“Every Brilliant Thing,” places unusual demands on its lead character, Narrator. Jessie Fisher delivers a carefully calibrated performance from a comedic script that is deceivingly simple, but deeply emotional and upon reading it afterward, I saw that it is beautifully structured, as well. 

Fisher is the center of our attention in this 70 minute monologue that evokes the gamut of emotions—at times poignant and tearful, at others boisterously funny. She relates a sampling of thoughts of people, places and things intended to capture life’s happy and satisfying moments. This was Narrator's lifelong quest, begun in childhood, to stave off her mother’s suicidal tendencies by coaxing her to dwell on the brighter side of things.

In this demanding role, Fisher must be onstage 30 minutes before the “curtain” rises formally, welcoming each audience member with numbered slips of paper, each bearing a charming thought evoking joy: 1. Ice Cream. 2. Water fights. 3. Staying up past your bedtime and being allowed to watch TV. In the course of the performance, we are each called upon to read aloud the item we received. (My companion had #1654: "Christopher Walken's voice." mine was #1655: "Christopher Walken's hair.")

Fisher also eyes the incoming ticket holders as potential stagemates, and several will be called from their seats to play an array of characters from her life: a school counselor, a lecturer, a veterinarian, her father, her spouse, even herself, at one point. As the formal show begins, Fisher narrates the story of her life, and calls on these individuals and others, and all of us eventually, to voice items from the list, or to play the bigger roles. She becomes both actor, and director, and we are transformed from spectators to players, the fourth wall continuously dissolved in this unusual play.

So reliant on the audience is “Every Brilliant Thing,” that each performance varies significantly—yet reading the script afterward, things that I imagined must have been spontaneous or ad libbed, are in fact detailed by the British playwright Duncan Macmillan (with comedian Jonny Donahoe, who played Narrator in the original productions in London and New York). Director Kimberly Senior has guided Fisher to a remarkable performance that is deceivingly natural and immensely convincing. I had a chance to see “Every Brilliant Thing” a couple years ago at WIndy City Playhouse, and this production, in Writers Theatre's more intimate Gillian space is every bit as good as that one.

We see Narrator through stages of her life, in college, getting engaged, married, divorced—all the while growing and maintaining this list of “brilliant things” that make life worth living. In her earlier life, she shared it with her mother, but it made little impact on her. The audience members are cued to read their assigned thoughts by number. As she courses through life, Narrator’s list grows into the tens of thousands, and hundreds of thousands, deepening in complexity. The pace of Narrator's recitation of brilliant things hastens, and she recites many of them herself.

We see that ultimately, this list is for the Narrator, a lifeline to which she clings as a vision of a happier life. 

 “Every Brilliant Thing” runs through January 5, 2025 at Writers Theatre in Glencoe, IL, and comes highly recommended. 

*Extended through January 12th

Sometimes history has a way of repeating itself and it’s not always for the better. Try as we might to learn from history, some of us are simply doomed to repeat it. But not everything that is repeated is necessarily bad. Historical music, art, and opera transcend history, where repetition is not only encouraged, but exalted. There is something magical about watching a live performance of an artform that was performed for audiences over two hundred years ago and think about the audience’s reaction then and now; did they laugh the same way? Did they like it as much then as we do today? Did they really use the word ‘b*$%h?’ There is truly a magical and historical connection happening at The Lyric Opera as they put on one of the most beloved operas of all time, The Marriage of Figaro.

The Marriage of Figaro continues the plot of The Barber of Seville several years later, and recounts a single "day of madness" (la folle journée) in the palace of Count Almaviva near Seville, Spain. Rosina is now the Countess. Dr. Bartolo is seeking revenge against Figaro for thwarting his plans to marry Rosina himself, and Count Almaviva has degenerated from the romantic youth of Barber, (a tenor in Paisiello's 1782 opera), into a scheming, bullying, skirt-chasing baritone. Having gratefully given Figaro a job as head of his servant-staff, he is now persistently trying to exercise his droit du seigneur – his right to bed a servant girl on her wedding night – with Figaro's bride-to-be, Susanna, who is the Countess's maid. He keeps finding excuses to delay the civil part of the wedding of his two servants, which is arranged for this very day. Figaro, Susanna, and the Countess conspire to embarrass the Count and expose his scheming. He retaliates by trying to compel Figaro legally to marry a woman old enough to be his mother, but it turns out at the last minute that she really is his mother. Through the clever manipulations of Susanna and the Countess, Figaro and Susanna are finally able to marry.

The company of The Marriage of Figaro at Lyric Opera of Chicago.

For those who have never seen an opera before, I could not recommend The Marriage of Figaro enough. The storyline is easy to follow despite the number of colorful characters. The opera is a musical comedy in four acts that first premiered in Vienna in 1786 and follows a comedy of errors as the players scheme and plot to catch each other in lies, all centered around a lascivious man who wants to have his way with a brushing bride, and the many men and women who don’t want that to happen. Mix in some humorous cross-plots and you’ve got yourself a comedy of errors that could have been written today. Composed by Wolfgang Amadeus Mozart, audiences old and young will instantly recognize the harmonies and familiar songs that have been featured in everything from Charlie and The Chocolate Factory and Mrs. Doubtfire, to countless Looney Tunes cartoons, and even viral TikToks. Considered one of the greatest operas ever written, The Marriage of Figaro is consistently ranked as one of the top ten most frequently performed operas. While the opera is sung in Italian, don’t worry, there are English translations displayed above the stage for the audience to understand what is being sung. With a minimalist but grand stage, vibrantly colored costumes, and voices of actors that are remarkably otherworldly, The Lyric Opera pays homage to history of this opera with their production. Helmed by incredible talent from Peter Kellner as Figaro, Ying Fang as Susanna, Federica Lombardi as Countess Almaviva, and Gortdon Bintner as Count Almaviva, this opera is an incredible introduction to the artform for both seasoned and novice operagoers.

When we look back in history, we sometimes wonder if those from the past thought about how they’d be perceived by future generations. Did Mozart know his masterpiece would still be played hundreds of years later? Do the opera singers feel history captured in the libretto they are singing? Not everything in history that repeats itself is bad. The things that bring life, laughter, love, and light into our lives should be repeated, and frequently. When history does inevitably repeat itself, be sure it is pulling you into the light and not into a pit of despair. After all, we could all use a little bit of light and laughter in our lives right about now. So make a night of it in Chicago and see The Marriage of Figaro at The Lyric Opera (20 N Wacker Dr, Chicago) during its limited run through Nov 30^th. Tickets are available at www.lyricopera.org.

Throughout our busy lives we often seek out the new. It is easy to see the allure. Beginnings offer a bit of magic, a clean slate, a chance to start anew. The opportunity brings with it a sense of hope and optimism that maybe this time we’ll be lucky, maybe this time things will change. But there is also just as much magic in endings as there are beginnings, sometimes moreso. The end of a bad relationship, the final day at a toxic job, the final chapter of a good book, the end of a chaotic and disappointing year, endings provide us a rare opportunity beginnings cannot, the opportunity to let it go. And what more fitting way to let it all go and end 2024 than with a bit of magic and a bit of nostalgia with Disney’s Frozen: The Broadway Musical, now playing at Paramount Theatre.

Nominated for a Tony Award for Best Musical, this sparkling Disney fairytale has been reimagined for the stage. The theatrical production of Frozen brings Disney’s beloved animated film to life and fills the stage with winter magic. Set in the magical kingdom of Arendelle, the story follows two royal sisters, Elsa and Anna, as they navigate love, loyalty, and magic. In her struggle to understand her identity, Elsa questions her talents, confusing them for character flaws but ultimately finds strength in her identity and gifts, looking both inward and to those she loves to let it go and be who she was born to be.

Emily Kristen Morris plays Elsa in Paramount Theatre’s Midwest Regional Premiere of Disney’s Frozen the Broadway Musical.

The stage adaptation of the beloved movie brings Disney magic to the stage. The musical has breathtaking scenic designs that transport us to the kingdom of Arendelle, lighting and sound and stage designs that bring magic to life, and an incredible cast of performers to include, but not limited to, Young Anna played by Avelyn Choi, Hans played by Jake DiMaggio Lopez, and Anna played by Beth Stafford Laird. Audiences young and old will feel a sense of nostalgia as the musical is filled with popular songs like “Love Is an Open Door” and “Do You Want to Build a Snowman?” and older audiences will appreciate songs that showcase internal monologues to move the musical forward like “Hans of the Southern Isles” and “I Can’t Lose You,” and all audiences will love the fun musical numbers like “Hygge” and revel at the iconic earworms like “Let It Go.”

It was fitting that the first act of the 2 hour musical ends with “Let It Go.” The audience needed the breather to the climactic beauty of the number helmed by the breathtaking Elsa played by Emily Kristen Morris. The staying power of “Let It Go” lasted long after the curtain calls and final bows. The magic lingered, the message more profound, communicating wordlessly what Director Trent Stork wanted the audience to take away from the performance. “I hope our show gives you the courage to be as bold as Elsa,” says Stork. “I hope you find a renewed sense of bravery from Anna…I hope you remember that love means putting others above yourself.”

Beth Stafford Laird (left) plays Anna and Emily Kristen Morris is Elsa in Paramount Theatre’s Midwest Regional Premiere of Disney’s Frozen the Broadway Musical.

As the year comes to an end, be bold, be courageous, and above all be kind to others and to yourself and let it all go. Good or bad, things inevitably come to an end, a close, a final curtain close. It is not weakness to let something go that no longer serves us or things that are beyond our power to control, it is kindness, and at the heart of it is love. Love yourself and love your neighbors to simply let it go. And if you need a little help to let it go, let Elsa and some incredible theatre magic help you do just that. Frozen: The Broadway Musical is now playing at Paramount Theatre (23 E. Galena Blvd. Aurora, IL) and runs through Jan 19, 2025, tickets are available at https://paramountaurora.com/.

I've always had a deep fondness for the two timeless films Holiday Inn and White Christmas. These movies feature outstanding soundtracks composed by the legendary Jewish American immigrant Irving Berlin. With a repertoire of 1,500 remarkable songs, including the iconic 'God Bless America', Berlin also sparked a Christmas revolution with his deeply emotional and sentimental classic, 'White Christmas'. Few are aware that Irving Berlin experienced a personal tragedy when he lost one of his children to sudden death on Christmas Day in 1928. Despite this, Berlin, an immigrant, always conveyed his profound love for America through his music. Like in 'God Bless America,' he consistently expressed his deep belief in the nation's potential for goodness, unity, and global leadership. Marriott Theatre's White Christmas is a heartfelt tribute to Irving Berlin and offers a wonderful opportunity for audiences to embrace the Christmas spirit.

White Christmas revolves around two talented entertainers, Bob Wallace (Ben Mayne) and Phil Davis (Tyler Johnson-Campion), who form a successful song-and-dance duo after World War II. They encounter singing sisters, Betty and Judy Haynes (Jacquelyne Jones and Kelly Felthous), and follow them to a Vermont lodge owned by their former army commander, General Waverly (Rom Barkhordar).

With the lodge facing financial difficulties due to a lack of snow, the group decides to stage a spectacular show to attract guests and save the establishment. Along the journey, romance blossoms between Bob and Betty, as well as Phil and Judy. The film is filled with memorable musical numbers, including the iconic "White Christmas," and concludes with a heartwarming and festive celebration.

Linda Fortunato directs and choreographs this dynamic in-the-round production, seamlessly transitioning from one spectacular showstopper to the next throughout the evening. The show is further elevated by its four exceptionally talented leads, who bring delightful moments of romance, dancing and humor to the stage.

Ben Mayne initially portrays a slightly stoic Bob Wallace, the character originated by Bing Crosby in the 1954 film. However, as the performance progresses, Mayne’s sensitive acting beautifully reveals Wallace’s transformation from a man guarded and wary of love to one who is deeply and undeniably in love. Meanwhile, Tyler Johnson-Campion dazzles as Phil Davis, a role originally brought to life by Danny Kaye. His immense talent as a singer and dancer repeatedly brings the audience to their feet, with tap-dancing performances that seem to defy gravity and overflow with the exuberance of newfound love. 

Jacquelyne Jones, playing Betty Haynes—a role famously portrayed by Rosemary Clooney—delivers a poignant and heartfelt performance in 'Love, You Didn’t Do Right By Me,' capturing the depth of female grief with striking authenticity. Together, Mayne and Jones enchant the audience as their characters fall in love, beautifully showcased in their renditions of Berlin's exquisite love song, 'How Deep is the Ocean.' While Jones treats the audience with a wonderful performance, Kelly Felthous shines as Judy Haynes, a role played by Vera-Ellen in the film version, bringing an infectious joyous energy and singing with great glee and charm. Felthous and Tyler Johnson-Campion, both exceptional dancers, leave the audience in awe with their expert hoofing in the hugely romantic and fun number 'The Best Things Happen While You’re Dancing.'

Jacquelyne Jone and Ben Mayne in Marriott Theatre's 'White Christmas.'

Rom Barkhordar shines as General Henry Waverly, Wallace and Davis’s retired commander, bringing a blend of humor and warmth despite his gruff exterior. Meanwhile, Robin R. McGee delivers a truly breathtaking performance as Martha Watson, Waverly’s dedicated helper and hotel manager, with her rendition of 'Let Me Sing and I’m Happy.' McGee possesses an indescribable vocal range, delivering her performances with the power and grace of a seasoned star who dazzles brighter than ever. 

White Christmas is a delightful musical, brimming with wit and fun, featuring memorable song and dance numbers that truly leave a lasting impression. Among the numerous standout moments, the entire cast's rendition of “Blue Skies,” set against the breathtaking backdrop of real snow falling in Vermont, is a spectacular and uplifting highlight that will stay with me throughout the winter season.

I wholeheartedly recommend this timeless yet refreshingly vibrant production, brimming with Irving Berlin's endlessly inspiring and romantic music. It's perfect for audiences of all ages who wish to take a joyous journey into the past and fully savor the upcoming Holiday Season.

"Snow, snow, snow, snow, snow!"

White Christmas is being performed at Marriott Theatre through December 29th. For tickets and/or more show information, click HERE.

Invictus Theatre Company’s latest production of The Tragedy of Macbeth, adapted and directed by Sarafina Vecchio, delivers a potent, intense experience that brings Shakespeare’s tale of ambition vividly to life. This production leans into the raw and brutal aspects of the play, creating an atmosphere thick with dread and foreboding. With excellent performances and a thoughtfully designed set, Invictus’s Macbeth stands out in the Chicago storefront theatre scene as a bold approach to one of Shakespeare’s most famous works.

At the heart of the production is Mikha él Amin in the title role. Amin brings a formidable presence to Macbeth, portraying a general-turned-tyrant with both vigor and subtlety. His portrayal balances Macbeth’s inherent ferocity with moments of doubt, remorse, and even fear as he descends into madness. Amin’s performance is well-matched by Carolyn Kruse as Lady Macbeth, who brings a fierce, complex energy to the character. Kruse’s Lady Macbeth is haunting, ambitious, and unyielding, yet she skillfully peels back layers to reveal her character’s vulnerability and psychological unraveling. Amin and Kruse ignite the stage with their magnetic performances, creating scenes of palpable intensity that hold the audience spellbound.

Adding to the haunting atmosphere are the three witches, portrayed by Christy Arington, Tessa Dougherty, and Julia Rowley. Their performances are eerie and grounded, capturing the supernatural essence of their characters while also bringing an almost elemental quality to the stage. Their dynamic movements and interwoven voices create a sense of otherworldly presence that lingers throughout the play, underscoring the tragic path Macbeth chooses.

The supporting cast is equally impressive, with Michael B. Woods as Macduff and Diego Longoria as Malcolm delivering strong performances. Woods’s portrayal of Macduff is both intense and deeply felt, particularly in his reaction to the tragic news about his family. His confrontation with Macbeth is powerful, filled with a mix of righteous anger and despair that grounds the play’s emotional climax. Longoria brings a sense of resolve to Malcolm, effectively conveying his transformation from a hesitant prince to a determined avenger. Joshua Razavi as Lennox, Aimee Kleiman as Rosse, and Charlie Diaz as Banquo also add depth to the story, each bringing unique qualities to their roles.

Manuel Ortiz’s scenic design and Cindy Moon’s costume design work in harmony to create a visually arresting production. Ortiz’s set—a sparse, Scottish clearing with stone carvings—evokes the stark beauty and rugged landscape of the Highlands. The carved stones suggest an ancient, mythic past that mirrors the play’s themes of fate and inevitability. Meanwhile, Moon’s costumes are richly layered, providing insight into each character’s status and role. Her war outfits are particularly notable, with armor and fabric choices that reflect the grueling, blood-soaked conflicts in the story. The costumes not only enhance the period feel but also convey a sense of realism, showing the wear and tear of lives shaped by relentless battle.

Under Vecchio’s direction, the production maintains a taut, relentless pace. The play feels almost claustrophobic in its intensity, with each scene building steadily toward the tragic climax. Vecchio’s staging highlights both the psychological turmoil of the central characters and the brutal violence that punctuates their journey. The fight choreography by Violent Delights is visceral and realistic, adding to the bloody, unforgiving tone of the production. In many ways, Vecchio’s direction echoes the grandeur and darkness typically associated with larger, more established theaters, making it clear that Invictus Theatre is a force in the storefront theatre community.

Overall, Invictus Theatre Co.'s Macbeth is a triumph. With exceptional performances, evocative design, and tight, effective direction, the production successfully brings Shakespeare’s tragedy to life in a way that is fresh yet faithful to the original text. It’s an immersive and unforgettable experience that cements Invictus Theatre’s place among the top-tier Chicago theatre companies.

Highly Recommended
When: Through Dec. 15
Where:  Invictus Theatre @ Windy City Playhouse, 3014 W Irving Park Rd, Chicago
Tickets: $25 - $38
Info: invictustheatreco.com

Ngozi Anyanwu’s Leroy and Lucy, in its electrifying world premiere at Steppenwolf Theatre, takes the legendary tale of Robert Johnson’s fateful night at crossroads and infuses it with the powerful mysticism of Yoruba spirituality. Forget the familiar Christian devil—instead, Anyanwu conjures Eshu, a complex Orisha (god) from Yoruba mythology who rules over sin and consequence, fate and chance, life and death. Directed by the fantastic visionary Awoye Timpo, this production doesn’t just retell a story; it transforms it, offering a dynamic cultural perspective that pulses with life and spirit.

Anyanwu’s storytelling is steeped in Yoruba tradition, with each line brimming with lyrical beauty and mythic depth. Lucy, played with fierce magnetism by Brittany Bradford, is Eshu personified—a playful, vain, argumentative trickster whose allure is irresistible. Leroy, played by the exceptional Jon Michael Hill, thinks he’s stumbled upon Lucy by chance, but the truth is far more chilling: Lucy has been waiting, watching, and weaving her magic to ensnare him—and the audience is captivated right along with him. Bradford’s portrayal of Lucy is utterly mesmerizing, casting a hypnotic spell that lingers long after scenes fade.

In one unforgettable scene, Legba—the Orisha known in Yoruba religions as the divine messenger and guardian of roads, paths, fate, and life—possesses Leroy’s body to confront Eshu in a thrilling clash of wills. As the master of destiny, Legba’s challenge to Eshu is charged with intense energy and revelation. The production also weaves in reincarnation, a core belief in Yoruba spirituality, adding a profound layer of spiritual depth making the play as thought-provoking as it is captivating.

Bradford and Hill’s chemistry is electric, their performances so raw and dynamic that they alone would be worth the ticket. Bradford, recently seen in Julia, The Watcher, and Dead Ringers, brings a complexity to Lucy that is fierce and enigmatic, while Hill, a Tony-nominated Steppenwolf ensemble member, infuses Leroy with vulnerability and resolve, torn between his aspirations and the spiritual forces at play.

Under Timpo’s masterful direction, Leroy and Lucy immerses the audience in a world that feels at once familiar and otherworldly. Andrew Boyce’s stunning set design, Heather Gilbert’s evocative lighting, and Conner Wang’s immersive soundscape create an atmospheric crossroads where visions flicker and secrets seem to breathe. Every element blurs the line between the earthly and the supernatural, drawing the audience into a world where they, too, must confront forces beyond comprehension.

Ultimately, Leroy and Lucy is a transcendent theatrical experience that bridges worlds—both cultural and spiritual. Anyanwu, Timpo, and the cast have created something profound and stirring: a play that speaks to ancient truths while challenging Western narratives, leaving its mark as a significant addition to contemporary theater.

Highly Recommended
When: Through Dec. 15
Where: Steppenwolf Theatre, 1650 N. Halsted
Tickets: $20 - $92
Info: steppenwolf.org

I’ve delighted in Babes with Blades since they began in 1997, and they are never more delightful than when slashing and sauntering their gender-flouting way through Shakespeare. Apt, that: MAGA really should condemn all the Bard’s works as rooted in cross-dressing! The Babes would thumb their noses at that, though! And here they give us a lighthearted gambol through enchanted woods in the ever beloved A MIDSUMMER NIGHT’S DREAM.

Lauren Katz (she/her) directed, with Assistant Kelsey Kovacevich (she/her).  Jillian Leff (she/her) is BWBTC’s premiere fight choreographer, assisted by Madison Hill (they/them). Fight choreographer is a critical role in any BWBTC production, as the Babes’ raison d'être is ‘using stage combat as a storytelling tool that elevates underrepresented identities to center stage’.  Cool, yeah?

I wondered how the Babes would pull off Shakespeare’s famously light-hearted comedy – I last saw them in their 2022 production of Richard III (stupendous!) and I usually associate BWBTC with more … well … combative productions. But the Babes are nothing if not versatile, and this MIDSUMMER NIGHT’S DREAM presents the enchanted story with the unique perspective only BWBTC can bring.

The story, you’ll remember, is a bit complicated: the wedding of Athens’ Duke Thesus (Jalyn Greene [they/she]) to Amazon queen Hippolyta (Hayley Rice [she/her])  is the central theme around which several subplots revolve. One involves two pairs of lovers: Lysander (Christine Chang [they/she]) loves Hermia (Cat Evans [they/she/him]), whose bestie Helena (Patty Roache [they/them]) loves Demetrius (Kim Fukawa [she/her]) – who’s in love with Hermia. How could anything go wrong there, huh? The two pairs plan severally to meet tonight in the Woods of Fairyland.

Meanwhile, elsewhere in the wood, a decidedly amateur group of thespians rehearsed a play to perform at the royal wedding. The wannabe troupe includes over-enthusiastic Nick Bottom (Sarah Scanlon [she/her]), Starveling (Jessica Goforth [she/her]), Snout (Lauren Paige [she/her]), Flute (Cee Scallen [they/them]), Quince (Morgan Manasa [she/her]) and Snug (Logan UhiwaiO’Alohamailani Rasmussen [she/her]).  Their collective stagecraft was far more droll than depictive, especially after ….

 Oops! I forgot to introduce the Fairies!

Fairy king Oberon (Hayley Rice [she/her)) and queen Titania (Jalyn Greene [they/she]) are experiencing consanguineous confutation and botheration; specifically, Titania is in possession (?) of a changeling boy that Oberon wants  (his purpose left to the audience’s imagination nudge nudge wink wink), but Titania is disinclined to relinquish the dainty. Fuming, Oberon calls upon his ‘shrewd and knavish sprite’ Puck (Hazel Monson [she/her]) to concoct a magical juice that, applied to the eyes of a sleeping person, causes them to fall in love with the first person (or whatever) they see. Thus, he will retaliate against his ungenerous wife.

Puck happens upon the theatric rehearsals and, taking Bottom’s name to mean jackass (a reasonable misapprehension), transforms his head into that of a donkey. Puck then scampers off to his appointed task of anointing the eyes of Titania and arranges that Bottom(ass!) be the first creature whom Titania espies … and instantly falls in love with!

Puck has a bit of remaining oobleck (yes, it’s a word, it means ‘a non-Newtonian fluid’) and, finding the lovers Lysander and Hermia, Demetrius and Helena slumbering under the trees, he sprinkles it on the blokes. They, naturally, are gazing upon the ‘wrong’ lady when they wake. The resulting convolution of affections triggers a spectacular Hermia/Helena catfight (as only Babes can fight!). King Oberon is delighted that Titania is enamored of an ass but appalled at the plight of the lovers: “What fools these mortals be!”. He casts a forgetfulness spell so that all four will awake remembering the whole mishegoss as but a dream.

Act the Final has Oberon, Titania and Puck, with a bevy of other fairies, wishing blessings on the audience then leaving Puck, who slyly implies that, “as I am an honest Puck” we may have dreamed it all as well.  

Where to begin my paeans of praise?!

Director Lauren Katz reflects in her Director’s Note that the first task of a director is to decide: ‘How is this production to be different?’; a critical question for a play so celebrated as A MIDSUMMER NIGHT’S DREAM. 

The differences begin, of course, with the company. Babes With Blades Theatre Company is a theatrical troupe like no other and leaves its singular imprint on anything they do:  BWBTC is the world’s only company using stage combat as its primary storytelling tool. I don’t know if they’re the world’s only all-woman stage fighting company, but they’re certainly the only one in Chicago. More fundamentally, BWBTC’s mission is to bring underrepresented voices onstage. For example, in the Babes’ 2022 production of Richard III the woman playing Richard was blind and the director deaf, and that show lives in my memory as the finest theatrical program I’ve ever seen.

That inclusivity extends to the audience. The night we attended A MIDSUMMER NIGHT’S DREAM was one of their ‘sensory friendly’ performances:  to accommodate people with sensory challenges the house lights remained halfway up, theater doors stood open throughout (to facilitate lobby breaks); the volume was decreased for certain scenes; and (my favorite) the box office offered ‘sensory kits’, containing noise reducing earmuffs, notebook/pen, and fidget toys. How incredibly cool is that?

Scenic Designer Marcus Klein (he/him) effectively combined simplicity with actuation. Together, Light Designer Laura J Wiley (she/her), Technical Director Line Bower (they/them), and Sound Designer Hannah Foerschler (she/her) collaborated to create a truly magical Fairyland Forest. Victoria Jablonski’s (she/her) costumes were perfectly in character, even when several actors played multiple characters! Intimacy Choreographer Sydney Cox (she/her) was not stymied by the ever-changing kaleidoscope of intimate couplings, and Props Designer Persephone Lawrence (she/they) made sure Puck had their magic potion whenever it was needed! A good dialect coach is essential to make iambic pentameter comprehensible, and Carrie Hardin most emphatically did so.  

Everyone, absolutely everyone was superb, but there are always a few standouts. I once asked a theatre-savvy friend, “Just what does a Stage Manager do, anyway?” their reply: “Everything.” Essau Andaleon (he/him) did Everything and did it well; he and Production Manager Rose Hamill (she/her) produced a smooth flow of splendiferous energy.

The cast was also globally superb, with a couple of notables to shout out. I knew I’d seen Patty Roache (they/them) before – on that very stage, in fact, as Queen Margaret in Richard III. They were equally magnificent as Helena: I purely love it (and clearly, they do too!) when they can yowl and shriek and caterwaul their fool head off!  The actors’ troupe of Snug Snout, Quince and Starveling meshed beautifully, and Sarah Scanlon was an admirable Bottom as well as a terrific ass!

I play favorites – so sue me. After all, Puck is everyone’s favorite character! And, if you’ve been reading my reviews, you know I’m a diehard, down-to-the-bone fanatic (not just fan!) of Lord of the Rings. So how could I help but be ensorcelled when Hazel Monson (she/her) played Puck as though she was channeling Andy Serkis? How could I fail to be enraptured by so Gollum-like (Gollum-ish? Gollum-esque?) a Puck? who capered and gamboled, rollicked and larked, skipped and sprang about the stage, often ending crouched before Oberon, head quizzically atilt, awaiting Fairy King Oberon’s next decree. Brava Hazel!

If you’ve never seen a Babes with Blades production before, A MIDSUMMER NIGHT’S DREAM is a perfect place to start. If you’ve followed the Babes for years, don’t let this one get by! And if you’ve seen A MIDSUMMER NIGHT’S DREAM a dozen times already, by all means come see what the Babes can do in Fairyland!

A MIDSUMMER NIGHT’S DREAM plays through November 23 at The Edge Theater. You can find the schedule of special performances on the Babes’ website.

HIGHLY RECOMMENDED

I’ll admit it: I knew little about “Into the Woods” before seeing the new production at Chicago’s Chopin Theatre. I’m not particularly fond of the composer, Stephen Sondheim. I’d bailed early watching the 2014 film with Meryl Streep. So I challenged myself to find out why it is so popular. And now I know: it’s really good.

At a venue like Chopin Theatre, in the intimate downstairs theater, you’ll have a chance to appreciate the dark humor of the book by James Lapine, and music and lyrics by Sondheim. No doubt you will come away as I did, experiencing the power mined from a most creative mash-up of four familiar fairy tales, and very much liking its dark, funny humor. 

Lapine and Sondheim tap four classic fairy tales—Rapunzel, Little Red Riding Hood, Jack and the Beanstalk, and Cinderella—building a cast of characters that for the first time meet each other. And we discover on stage they have a lot in common. 

Among the cast are two princes, Shea Hopkins as Cinderella’s Prince and Jonathan Allsop as Rapunzel’s Prince, who bond in their shared quests. Princessy figures Cinderella (Madison Kauffman) and Rapunzel (Ismael Garcia) share the spotlight. And then there are the younger innocent players, Little Red (aka Riding Hood, Anna Selbert) and Jack (Kevin Parra) of Beanstalk fame. Both get into trouble for not following their mothers’ orders.

And of course we see those mean-spirited characters, The Witch (Stephanie Stockstill) who entrapped Rapunzel in that stairless tower and Cinderella’s Stepmother (Emily Goldberg)—though these two don’t really connect. 

Bits of the classic stories are recounted, but “Into the Woods” faces us squarely with the shadowy parts. Yes Rapunzel let down her long hair for that prince and they fell in love. But there is more in Grimm’s Fairy Tales (I reread them all after seeing the show): The Witch cuts off Rapunzel’s hair, banishes her to wander a wasteland, and tricks the Prince into climbing up. He falls into a thornbush and pierces his eyes. Another element I hadn’t recalled until my rereading of Rapunzel: a couple aiming to have a child are the origins of the long-haired beauty’s predicament. (This couple seems to be drawn from the original tale, in which the husband surrenders Rapunzel to compensate The Witch for his theft from her garden.) In the play, that husband becomes The Baker (Kevin Webb) who with The Baker's Wife (Sonia Goldberg) goes on a quest in order to have a child. 

Sondheim and Lapine take these stories into uncharted territory in Act 2 as the characters suffer retributions unleashed for their selfish acts. As originally told, after Jack sells a cow for those magic beans, he climbs into the Giant’s lair and robs him, then kills the Giant as he pursues him down the beanstalk. The play adds a riff to that tale: the Giant’s widow (Honey West) chases Jack and wreaks havoc in the kingdom in her pursuit of justice. 

The stories are woven together into a cohesive whole guided by Narrator, played so remarkably well by August Forman, who doubles as Mysterious Man. It is the strength of Forman’s performance that makes the many moving parts fit together; they are onstage continuously and tirelessly. It’s truly remarkable to behold. 

Kokandy Productions’ show, directed and tightly choreographed by Derek Van Barham, meets the demands of this funny and inventive book by Lapine, with music and lyrics by Sondheim. Entrances and action are timed with exacting precision. 

A pair of grand pianos are center stage, with keyboardists Ariana Miles and Evelyn Ryan replacing full orchestration, and fully integrated to the action around them. Kudos to these two for their exemplary artistry. 

What’s not to like in “Into the Woods”? Just one thing: that Wolf? His ears are way too round and small. 

At its 1986 Broadway debut, “Into the Woods” was seen by many as an allegory for the havoc wreaked by the early AIDS crisis. It’s easy to see why during Act 2. Sondheim has demurred from that interpretation, and now nearly 50 years later, there is nothing explicitly alluding to AIDS. Our contemporary climate crisis fits aptly into interpretations of the play now. And that is a tribute to the work’s timeless character, and longstanding appeal.

“Into the Woods” runs through December 22, 2024 at The Chopin Theatre in Chicago. 

Music Theatre Works’ Little Shop of Horrors, featuring music by Howard Ashman and a book and lyrics by Alan Menken, is the ultimate Halloween and fall musical for cult hit fans. This spooky, yet fun production captures the essence of the beloved story, making it a must-see for the season.

It all began in 1982 when the off-off-Broadway performances first took place, before moving off-Broadway to Orpheum Theater. But most probably remember the 1986 film adaptation of Little Shop of Horrors, directed by Frank Oz and based on the off-Broadway musical, starring Steve Martin, Rick Moranis, Ellen Greene and Vincent Gardenia. The musical centers on Mushnik’s Flower Shop, a struggling business in a shabby neighborhood. Here, Seymour, a nerdy employee, discovers and nurtures an alien carnivorous plant, which he names Audrey II, after his co-worker Audrey, who he is crushing on. Driven by his love for Audrey and the desire to boost the shop's dwindling sales for Mr. Mushnik, Seymour helps the unidentified plant grow with steadfast dedication. Unfortunately, the food that the plant needs to grow is human blood, and the musical becomes a lesson in being careful what you wish for!

Kayla Shipman truly excels as Audrey. With her lovely presence and remarkable singing voice, Shipman captures the audience's hearts with her sweet and caring personality. This makes the revenge against her abusive, violent dentist boyfriend, Orin Scrivello, all the more satisfying. One of Shipman’s notable numbers is "Somewhere That's Green,” a touching ballad where Audrey shares her dreams of leaving behind her bleak, urban life. She envisions finding happiness in a serene, suburban setting with a home, a yard, and a family filled with love and contentment. This poignant moment unveils her vulnerability and longing for a brighter future. 

(L to R) Kayla Shipman and Jimmy Hogan in Little Shop of Horrors from Music Theater Works.

Jimmy Hogan portrays Seymour as a likable character who must muster more courage to handle the plant's demands. His grounded performance provides a perfect counterbalance to the rest of the cast's comedic extremes. Hogan really shines in his powerful number with Shipman, "Suddenly Seymour.” The song signifies a pivotal moment in Audrey and Seymour's relationship. Audrey comes to see that Seymour genuinely cares for her and offers a brighter future. It's a moment of revelation and reassurance, with Seymour vowing to protect her and demonstrating that she deserves love and happiness. Themes of love, support, and newfound confidence shine through in this heartfelt duet.

The plant comes alive thanks to Najee Musiq Rawls, who voices Audrey II and really impresses during “Feed Me (Git it!).” "Feed Me (Git It!)" is a crucial song in Little Shop of Horrors. Here, the carnivorous plant Audrey II insists on more human blood to grow stronger, luring Seymour with promises of fame, fortune, and love. This song spotlights Seymour's moral struggle, caught between his conscience and the plant's insatiable hunger, heightening the story's tension and propelling the plot forward.

Sam Nachison delivers a standout performance as Orin Scrivello, particularly shining in the number “Dentist!” This song, which hilariously recounts how his sadistic tendencies drove him to dentistry, showcases Nachison's talent and darkly comedic flair. The cast is bolstered by a talented ensemble who deliver strong performances in both dance and song numbers while Thomas M. Shea does an admirable job in his portrayal of store owner, Mr. Mushnik. The show gets an additional lift from its excellent set design, lighting, costumes, and puppetry. Music Theatre Works never fails to produce vibrant and captivating productions.

Although the set begins with a dark and somber feel, it brightens considerably with lighting effects and vibrant costume changes as Audrey II's fame and popularity grow, captivating audiences worldwide. The company excels in strategically staging this wild musical in the intimate North Theatre at the North Shore Center for the Performing Arts in nearby Skokie. 

Little Shop of Horrors is expertly directed by Producing Artistic Director Kyle A. Dougan, with choreography by Reneisha Jenkins and musical direction by Linda Madonia. I recommend this show for audiences aged 13 and over. Though an entertaining story with plenty of humorous moments, the themes in Little Shop of Horrors, such as domestic violence, a sadistic dentist who tortures his patients, and a plant that grows by devouring humans, are questionable for younger viewers, despite the show's renowned puppetry.

Music Theatre Works’ Little Shop of Horrors is currently being performed in the North Theatre at North Shore Center for the Performing Arts through November 17th. For tickets and/or more show information, click HERE.