Items filtered by date: November 2007

Something extraordinary happens on a street in Huntsville, Alabama. Mr. Woods (Keith Randolph Smith), a hard-working Black man in the community, is involved in a traffic stop with two cops (Mark Bedard and Jorge Luna) - a scene witnessed far too many times in America. But this time something strange occurs. As his neighbors, Retta (Caroline Stefanie Clay), Reggie (Ray Anthony Thomas), and their grandson, Trent (Cecil Blutcher), watch from their balcony perch, Mr. Woods's anger transforms into something... unexpected. Something that changes everything.

That's where Zora Howard's "BUST: AN AFROCURRENTIST PLAY" begins, and to say more would spoil its interesting revelations. "Bust," written by Zora Howard and directed by Lileana Blain-Cruz, is produced by Goodman Theatre in association with Alliance Theatre.

What makes this play remarkable is how it reimagines Black rage not as a liability, but as a source of protection - a force that might finally shield from, instead of exposing to, danger. Howard asks us to consider: What if the very emotion that so often puts Black lives at risk could become their shield?

Zora Howard's dialogue—especially in its most naturalistic scenes—crackles with authentic humor. Retta and Reggie's interactions sparkle, their shared past adding layers of meaning to every exchange. Their long history together makes even the smallest moments between them feel like inside jokes waiting to be told. The classroom sequences, where students push back against repressive authority, each other, and the invisible weight of a broken system, are electric. But as the narrative slips into more surreal terrain, cracks begin to show.

Unlike the magical realism of Gabriel García Márquez—where supernatural moments are seamlessly embedded in the everyday, unquestioned and mythic—"Bust" dwells too long in the confusion of its own metaphors. The characters' prolonged reactions to the inexplicable events ("What just happened?", "Where is…?", "How can…?") pull us out of the flow and render the surreal sequences more like detours than revelations. The unnamed, non-descript space—perhaps intended as a psychic or spiritual refuge from racial trauma—feels underdeveloped and too divorced from the world around it. Rather than expanding the emotional scope of the play, this abstraction creates a frustrating disconnect.

There's a clear metaphor at work: rage forces retreat; grief bends reality. But in "Bust," that retreat never fully reconciles with the lived world of the characters. The liminal realm they enter—be it dream, myth, or madness—never roots itself in the logic of the story. It becomes less a mystical integration and more an escape hatch, leaving the audience unsure how to interpret it, or why the play is split in two.

A seasoned dramaturg might have helped stitch the play's dual impulses—realism and abstraction—into a more cohesive fabric. As it stands, "Bust" is a piece with two distinct voices: one that speaks in the language of humor, pain, and communal survival, and another that whispers through metaphor, without always being heard.

Still, even in its fragmentation, "Bust" pulses with urgency and vision. Blain-Cruz's direction keeps the energy taut and the stakes high. The ensemble, including Bernard Gilbert as Zeke, Victoria Omoregie as Paige, Ivan Cecil Walks as Boobie, Renika Williams-Blutcher as Krystal, and Caitlin Hargraves as Ms. Pinto, bring unvarnished honesty to their performances.

In the end, "Bust" isn't a bust—it's an eruption. It's bold, funny, and full of potential. But in aiming for the transcendent, it sometimes loses sight of the real—and the real, here, is already more than enough.

SOMEWHAT RECOMMENDED
When: Through March 18
Where: Goodman Theatre, 170 N. Dearborn St.
Tickets: $25-$85
Info: www.goodmantheatre.org

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

I reviewed TITUS ANDRONICUS in mid-February, so I was eager to see the sequel!

In TITUS, Shakespeare tells the story from the viewpoint of the regnant major characters: Empress Tamora and her sons Chiron, Demetrius and Bassianus; Lucius and the unlucky Lavinia, progeny of Titus Andronicus himself. GARY occurs immediately after that sensationally gruesome tale and tells the story from behind the green baize doors: two very lowly servants are charged with cleaning up the mess of bloody bodies strewn thither and yon. Let me stress, however, that one need not have seen TITUS previously; GARY works just fine as a stand-alone.

Gary (brilliantly played by William Delforge) is a servant who aspires to the lofty status of Fool and wistfully dresses the part. His BFF (tho she may not agree!) is the maid Janice (Hannah Rhode), less imaginative but patently more astute than Gary. We encounter one old friend from TITUS: the delicious Cameron Austin Brown as Carole, the midwife who delivered Empress Tamora’s baby, which was instantly and inarguably seen to have been fathered by the Moor Aaron (James Lewis). Inexplicably, Carol survives the resulting collieshangle [great word, yeah? Means donnybrook or argy-bargy. Aren’t words fun then?] to reappear in the midst of the (very) bloody task of tidying up the corpses littering the palace.

So, the plot being fairly straightforward, I choose now to focus on the playwright, Taylor Mac, who uses the pronoun ‘judy’, a personalized pronoun for someone whose gender (professionally and personally) is constantly changing. Judy describes GARY as ‘a tragedy determined to become a comedy’ – a definition I can absolutely get next to! Mac’s (absolutely fabulous) bio provides a simple list of judy’s achievements, which include: a MacArthur “genius”, a Pulitzer Prize Finalist, a Tony nominee for Best Play, and the recipient of the International Ibsen Award, the Kennedy Prize, the Doris Duke Performing Artist Award, a Guggenheim, a Drama League Award, a NY Drama Critics Circle Award, two Obie’s, and two Bessies. Whew! Judy’s webmaster has a lot of work keeping judy’s website current!

And how lucky are we to live in Chicago, where Redtwist Theatre is mounting a production of this extraordinary phenomenal deviant unorthodox outlandish bizarre freakish mind-boggling peculiar implausible superlative disruptive … well, I (obviously) could go on and on – god how I love word hippo’s thesaurus! What I’m trying to say is I really really liked the show, but it’s unquestionably not for everyone. Don’t take your grandma to see GARY, and please don’t bring the kids! And BTW, don’t worry about the blood splashing – Redtwist will provide a water-repellant poncho upon request.

OK, that’s the playwright, let’s move on. The remainder of the production team is familiar to those of us who frequent Redtwist Theatre.

Director Steve Scott: Steve has been around; he’s a member of the Redtwist ensemble and served as producer at Goodman Theatre for more than thirty years. For three decades Steve taught at Chicago College of Fine Arts at Roosevelt University. He has received six Jeff nominations, an After Dark Award, a special Jeff Award for career achievement, and the League of Chicago Theaters’ Lifetime Achievement Award.  So … Steve knows what he’s about, but with a production so labyrinthine as GARY, he welcomed aid from Assistant Director Korey Joseph and Technical Director Jeff Brain.

Dusty Brown is another familiar name; they served as Dramaturg and Sound Designer for GARY. Fight Choreographer Seth Eggenschwiller was excited to continue prioritizing actor safety alongside hard-hitting theatrical violence. The lighting for GARY was complex and superbly executed by Lighting Designer Piper Kirchhofer.

Props Designer Robin Manganaro loves working with teams and stories that represent BIPOC, neurodivergent, and LGBTQ+ perspectives; definitely the case with GARY at Redtwist.  I imagine (and certainly hope) Costume Designer kClare McKellaston (yet another familiar name!) had real fun with the costumes for GARY – and they came out absolutely fabulous!

Scenic Designer Eric Luchen also did a marvelous job with the scanty space he had to work in at Redtwist; remember the splash warnings! Luchen was most recently awarded the Conda Award for Excellence in Scenic Design for his production of ‘Mary Poppins’ in Newcastle, Australia.

One is at times sitting mere inches from the action – only an excellent and very professional cast could keep from overbalancing and falling into someone’s lap! this contiguity made interaction with the audience well-nigh unavoidable; people were given beads, and during a long oration I was able to slip a mint to Hannah Rhode.   

We come last to stage management. I asked a friend who’s held every backstage position imaginable, “So, what does a Stage Manager actually do, anyway?”  They replied, “Everything.” And indeed, Everything was done by Co-Stage Managers Ashley O'Neill and Maria Reyes, and Production Stage Manager Raine DeDominici.

OK: the stage is set, props arranged, scripts perused; audience members file expectantly in to take the available seats (16? 18?).  What now?

The cast of GARY is small – only three actors, and I’ve already named all three: William Delforge as Gary; Hannah Rhode as Janice; Cameron Austin Brown as the midwife Carol. (a wad of fabric was cast as ‘baby’.)

CAMERON AUSTIN BROWN, I remember fondly as midwife Carol from TITUS. He occupied the role and made us believe: once this accoucheuse [another great word yeah? 3 cheers for word hippo!] laid eyes on the baby, they knew that this dusky little morsel was fated for elimination; one could not, after all, retain this irrefutable evidence of the Empress’ infidelity … and adulterous miscegenation to boot! What on Earth would the neighbors say?

But Carol, irrefutable witness that the dark infant proceeded from the Empress’ loins, is fond of this morsel of iniquity. Luckily (for Carol!) the babe is also cherished by Aaron, the Moor whose protracted liaison with the Empress has now borne this damning fruit.

HANNAH RHODE is Janice – by my reckoning the only one of this group who’s got the good sense God gave a little green worm. Gary finds her a bit boring, because Janice is focused on that which is practicable, functional, sensible … just reading that list of words would send Gary into a snooze. Rhodes is wonderful in this role, keeping a straight face in the most comical circumstances, even while giving Gary a perfect “WTF??” look. Yet despite being commonsensible, levelheaded and prudent (all opprobrious qualities to Gary!), Rhode gives her an essential likability. All three of the characters are actually quite appealing, despite their more vulgar and indecorous traits.

Ah, Gary … GaryGaryGary. William Delforge is well and truly brilliant in this role. I just hope he’s taking his vitamins to keep him going as he capers and cavorts, prances and gambols, downplaying Gary’s knavery with exuberant tomfoolery.  And one is forced to admire Gary’s ambitions: he will be a Fool! In fact, Delforge shows us that Gary already is a Fool, in all its positive and negative permutations. I truly loved Delforge’s characterization of Gary.

I usually unabashedly single out a member of the cast as my ‘favorite’, but GARY has me discombobulated [one of my favorite words for decades!] – I truly can’t choose between the three! Hannah Rhode’s Janice was perfection. Cameron Austin Brown’s Carol was sublime (and oh my, Brown is simply adorable!). And I just finished waxing eloquent about Delforge’s Gary.

*sigh* no way to pick

But here's the really good news: GARY: A Sequel to Titus Andronicus will be playing at Redtwist Theatre for another month! Really, truly, GARY will play through June 1 at Redtwist, 1044 W Bryn Mawr. And I VERY HIGHLY RECOMMEND you check it out!

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

“Spring Awakenings,” now playing at Chicago’s Greenhouse Theater Center, is not the Tony-winning 2006 Broadway musical “Spring Awakening,” but an adaptation of its original basis, an 1891 German play by Frank Wedekind that was first performed in 1906. Translated by Francis J. Ziegler, and directed and adapted by Lazy Susan Theatre Co. company member Matthew Masino, it is a fervent and vibrant production with a cast clearly filled with passion for what might be seen as something of a theatrical novelty.

An exploration of the angst of sexual awakenings of teenagers, it was also a social commentary on the damaging effects of sexual repression, those things we haven’t liked to talk about - puberty, erotic dreams, BDSM, pregnancy, abortion - all on stage. And other things, too - teen suicide, the stress of scholastic competition, and societally enforced sexual repressiveness.

Measured against this window into the past, we must have learned something over the decades. At least we’ve been talking about these matters more.

Though not a musical, it is laced with song, and actor performers on cello (Nicholas Ford Kinney, and in the role of Georg), guitar (Grace Trivax, and in the role of Martha), flute (Phoebe Webstbrooks, also playing Otto) and piano (Pierce Howard, and in the role of Hänschen). Music for the show is composed by Michael Van Bodegom-Smith, with musical direction by Dominic Rinker.

Remarkable in their performances and the core of the drama are the trio of Isabelle Grima as Wendla, Jake Griffith as Melchior, and Bryce Lederer as Moritz. As the show runs on (two hours, no intermission) one begins to realize that Lederer has the most demanding role, and he really delivers. His Moritz is central to the storyline, heavily laced with tragic turns.

Moritz confides to his classmate Melchior that he struggles with confusing dreams. The more seasoned and knowledgeable Melchior quickly tells him essentials of the facts of life, explaining that these are erotic dreams, a natural companion to sexual development. Wendla, who has a thing for Moritz, asks her mother to explain where babies come from, and is met with obfuscation. Uninformed, she soon enough ends up in the hay with Melchior, and pregnant.

Set in Germany—young men wear short pants, young women just trading girlish skirts for long dresses—these school chums are a bonded group, and display real affection for each other. Characters are fully fleshed out in the charming production, even lesser roles like Ryan Vu’s Ernst, Quinn Skelly’s Rupert, both so good in their performances. A real standout is Hannah Loessberg as Thea.

Other than its historic theatrical interest, Is there a message in this show? Perhaps. With the rise in illiberalism fueled by drastic governmental shifts, it’s beneficial to look at the harms we suffer when social repressiveness suppresses openness to talk about taboo subjects. And this show is just plain fun, as well.
“Spring Awakenings” runs through May 11, 2025 at Greenhouse Theater Center.

Lisa Sanaye Dring’s play “Kairos,” which just opened at The Edge Off Broadway theater, is one of the most thought-provoking and enjoyable productions I have seen lately. Set in the near future, the 90-minute play (no intermission) is as good anything you might see in streaming shows ("Black Mirror" comes to mind.) Directed by Clare Brennan, “Kairos” is in the midst of its rolling world premiere with the National New Play Network. 

As the play opens, David (Johnard Washington is really good), a somewhat detached and scholarly fellow, and the all-business Gina (Tamsen Glaser) meet one rainy night via a mall parking lot fender bender. David is only lightly concerned about his car's damage, as he’s smitten with Gina, who blames him for the accident. During a practical exchange about insurance, police reports and such, Gina discovers she is charmed by David as well. “Here’s my number,” she says. “Not for the accident. For sex….maybe?”

The scenes cycle rapidly through their evolving romance, and they discover more and more appeal in each other. But this fast-paced affair is only a prelude to the core of the story. A few weeks in, they are lounging around, when arresting news crosses their screens: medical science has discovered a treatment, dubbed “Prometheus,” promising eternal life.

What a remarkable premise for a drama. A developing relationship meets a decision about living everlastingly. Way beyond, “Should we get married?” That’s only until death do us part.

Because of its likely appeal, the Prometheus treatment is offered by lottery, and is restricted to those aged 25 to 34, who are also, once treated, prohibited from bearing children. The playwright has upped the ante with that. Candidates apply online, and once selected, must undergo a psychological screening.

David wants in immediately, while Gina figures she’ll just see if she qualifies, and then decide. Their relationship progresses while they await the news, with the usual ups and downs, and matters like meeting family playing out in the background.

As we await the lottery results, we get a feel for the likelihood of David and Gina's relationship surviving on its own terms. David seems more in touch with his feelings, and a bit more empathic. Gina is more self-centered, seemingly waving away the life challenges her partner encounters. When David’s father leaves his mother suddenly after 40 years, he is distraught. Gina doesn’t quite get it. “I’m sorry about your father,” she says, “but he can’t be where his heart is not.”

At the risk of a spoiler, Gina wins the lottery first. I felt my heart racing as she prepared to open the communication. David still hasn’t heard. And when he too is eligible for Prometheus, there is instant elation. “We’re not going to get old together!” he exclaims.

Soon enough we find out it’s not that simple. These two weren’t quite ready for marriage, let alone eternal life. And David must still undergo a psychological exam, which we gather Gina has passed.

The world around them also shifts as society spins into an upheaval, and protests against Prometheus arise. The world is split between “agers,” and those who, because of Prometheus, won’t age.

We soon see fissures in their relationship. David becomes depressed, partly about his parents’ divorce, and we suspect, also about this massive life change. Gina prods him to pull himself together for his psych exam: “They might not want immortal sad boys running around.” I think the heft of the play would be greater if there had been a little more depth to the emotional dynamics of the relationship. It felt a little too once-over-lightly to be convincing. But the storyline is so interesting, it’s not consequential.

“Kairos,” the Greek term for “the right time,” when an alignment of circumstances presents an opportunity, is a recurrent theme in the play, from their very first encounter in the mall parking lot, to opportunity for Prometheus as their relationship gets rooted. An epilogue to the play, dated 2068 A.D., lets us know how things turned out for Gina and David. Produced by Red Theater “Kairos” runs through May 18 at The Edge Off Broadway in Chicago.

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

It was a night of celebration, reflection, and breathtaking talent at the Civic Opera House. Fifty years of song echoed through the hall, but it was the future of opera that took center stage. On Friday, April 25, Ryan Opera Center celebrated their 50th Anniversary Season with 11 opera singers in ‘Rising Stars in Concert’. The concert hosted by the Lyric Opera House served as a moving tribute to the Center’s mission of keeping opera vibrant in Chicago and nurturing the next generation of opera artists.

The evening began with a short video sharing the Ryan Opera’s history with testimonies from alumni about their experience. For context, the Ryan Opera Center was founded in Chicago in 1974 and has been central to Lyric Opera’s commitment to cultivating rising talent. With approximately 300 alumni, many of whom have gone on to international acclaim, the program is known for its intensive training, expert mentorship, and world-class performance opportunities. Reaching the 50-year mark is no small feat, it’s a sign not just standing the test of time, but of the Ryan Opera Center’s continued excellence and impact in the opera world.

The concert, conducted by Lyric’s Music Director Enrique Mazzola and directed by Paul Curran carried on into Part I, Orpheus in the Underworld. An operatic comedy by Jacques Offenbach that humorously reimagines the Greek myth of Orpheus, who journeys to the underworld to rescue his wife Eurydice. The “Rising Stars in Concert” was a more simplified version of the comic opera as the singers were not in costume and the set was mainly a massive bed and Greek pillars in the background. Despite the lack of set design and costumes, the singers entertained the crowd with powerful singing and captivating acting. 

Director Paul Curran.

In the first half of the show, as Orpheus and Eurydice's conflict unfolded, I was especially impressed by Emily Richter’s portrayal of Eurydice. Her soprano voice was not only beautiful but had incredible projection, filling the space effortlessly. Beyond her vocal talent, Richter brought an impressive flair for acting, making her portrayal of the disloyal wife entertaining.

In between each act, the show was narrated by different members in the ensemble in English. Helping the crowd with the movements of the story, while also providing a few jokes to keep us laughing. Various props were used in effort to bring the concert to life, including devil horns for Hades, picket signs with jokes, and teddy bears held by the Greek gods as they slept in the massive bed on center stage.

Following a 20-minute intermission, Part II of the concert transitioned into a varied program of operatic and non-operatic selections. Most of which were solo singer performances accompanied by the orchestra. Adia Evans, a soprano, sang a beautiful opera song from Hérodiade called “Vision Fugitive” by Jules Massenet in French. Evans showcased impressive vocal projection, sustaining long phrases between breaths with a rich, beautiful tone.

Another standout artist was Christopher Humbert Jr., a Bass-Baritone who sang Charles Gounod’s “Le veau d’or” from the five-act opera called Faust. Humbert made a dynamic entrance, cueing the music with a snap before launching into song with his deep, animated voice that immediately drew in the crowd. He brought extra energy by encouraging the ensemble to join him, and his performance stood out for its vocal power and crystal-clear enunciation.

One of the final solo performances stood out for its departure from traditional opera. Baritone Finn Sagal delivered a beautiful rendition of “Que Reste-t-il de Nos Amours?” (“I Wish You Love”) by Léo Chauliac. Entering with a microphone in hand and accompanied by a pianist, Sagal captured the audience with his melodic, Sinatra-style vocals infused with operatic nuance. His heartfelt performance brought out genuine emotion and highlighted the versatility of opera singers, setting him apart from the rest of the ensemble.

The show concluded with the completion of Part II of the Orepheus in the Underworld opera performance with Enrique Mazzola’s brilliant leadership as the musical conductor. Mazzola led the music for Orpheus in the Underworld with great finesse, earning enthusiastic cheers from the audience as he stepped into the orchestra pit. In the second half of the concert, Chi-Yuan Lin took the baton, conducting a wide range of operatic and non-operatic selections. As only the second artist appointed to the Ryan Opera Center’s conductor position, Lin impressed with her precise and supportive accompaniment, skillfully guiding the ensemble through each performance

Throughout the lively evening, the Civic Opera House was nearly full, with concertgoers and proud family members of the ensemble filling the seats. The auditorium rang with enthusiastic cheers between performances, and bursts of laughter echoed often, thanks to the show’s playful humor and lighthearted moments. The night ended on a high note with a well-deserved standing ovation and thunderous applause from the crowd.

The 'Rising Stars in Concert' delivered three hours of musical entertainment, which, while a bit lengthy, felt appropriate given the significance of celebrating the Ryan Opera Center’s monumental 50th anniversary. The performance offered a glimpse into the bright future of opera, showcasing the immense talent of up-and-coming singers. As someone not deeply versed in the opera world, I was thoroughly impressed by the powerful voices and extraordinary musical gifts of the ensemble.

If you are interested in listening to or watching the show, ‘Rising Stars in Concert’ has been recorded and will be broadcast on 98.7 WFMT and streaming on wfmt.com on Sunday, May 18, 2025 at 5:00 p.m. CT.

Court Theatre’s world premiere of Berlin, adapted by Mickle Maher from Jason Lutes’ monumental graphic novel, is a breathtaking achievement. Directed with precision and deep sensitivity by Charles Newell, Berlin brings the chaos and beauty of Weimar-era Germany to stunning life on stage, rendered in an unforgettable 1930s noir style.

Lutes spent two decades crafting his sprawling graphic epic, and it’s clear Maher and Newell approached this adaptation with profound respect. The production’s black, white, and grey palette—designed by scenic designer John Culbert, lighting designer Keith Parham, and costume designer Jacqueline Firkins—immerses the audience in a city teetering on the edge of catastrophe. Every shadow and seam speak volumes, creating a world that feels both immediate and mythic.

Raven Whitley leads the ensemble as Marthe Muller, capturing a young woman’s vulnerability and fierce independence with magnetic grace. Tim Decker’s Kurt Severing carries the weary idealism of a journalist witnessing democracy’s slow death, while Ellie Duffey delivers a moving performance as the idealistic Silvia Braun. Elizabeth Laidlaw is harrowing as both Gudrun Braun and Adolf Hitler, offering a brutal glimpse into rising fascism.

Special mention must be made of Julia Rhoads’ fluid, expressive movement direction, which underscores the sense of a city swirling with ideas, danger, and desire. Sammi Grant’s expert vocal and dialect coaching ensures every character’s voice feels authentic—from Joseph Goebbels’ oily charisma (a chilling performance by Terry Bell) to the many Berliners struggling to survive an unraveling world.

Kate Collins, Mo Shipley, Jack Doherty, Guy Van Swearingen, Christopher Meister, Molly Hernandez, and Brandon Ruiter round out the exceptional ensemble, each carving out vivid portraits of citizens caught in history’s gears.

Watching Berlin today mirrors America’s turbulent political landscape with haunting clarity. From surging extremism to collapsing civil discourse, from journalism under siege to widening economic divides—these echoes ring too close to home. Berlin is more than historical; it is an urgent warning, a desperate plea, and a piercing call for vigilance.

Newell’s production reminds us that civilizations don’t collapse with a bang—they decay slowly, invisibly. Each small compromise, each overlooked lie, each quiet injustice piles up until the ground gives way beneath us. By then, we’ve sealed our fate, having watched our undoing unfold in slow motion.

Court Theatre hasn’t merely adapted a graphic novel—they’ve unleashed a theatrical thunderbolt. Under Newell’s visionary direction, Berlin transforms into something rare and electric: a defining moment of Chicago theatre that will be talked about for years to come. In a time when we desperately need art that matters, Berlin delivers with a punch that leaves you breathless.

HIGHLY RECOMMENDED                                                                                                                                                              

When: Extended through MAY 18TH

Where: Court Theatre, 5535 S. Ellis Ave.

Running time: 2 hours, 30 minutes 15-minute intermission

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

*Extended through May 25th

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

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

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

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

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

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

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

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

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

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

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

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

VERY Highly Recommended

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

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

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

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

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

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

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

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

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

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

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

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

Performance Schedule: April 18 – May 18, 2025

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

Newly Added Dates:

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

For tickets and/or show information, click here. 

 *Extended through May 25th

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