Items filtered by date: November 2007

Open Space Arts presents a premiere performance of Michael McKeever’s MR PARKER. Like everything I’ve seen at Open Space Arts (OSA), the acting was superlative: kudos to Andrew Kain Miller (Terry), Riley Capp (Justin), and Mary Ann Bowman (Cassie)! and their maneuverability in the confined space displayed expert blocking by Director/Producer/(EverythingElse-Er) David G. Zak.

The story of a widow just beginning to emerge from mourning is a familiar shared experience, bringing us immediately into rapport with Terry (Andrew Kain Miller). The complications of his journey are just as classical: his ambivalence toward accepting what the far-younger Justin (Riley Capp) is offering, and the affirmation of his doubts by Cassie (Mary Ann Bowman), his sister-in-law and sole remaining family.

It bears repetition: the cast as a whole was amazing. As usual however, I have a favorite: Riley Capp was singularly convincing as young Justin. From his first appearance Capp was compelling, maintaining Justin’s manic energy to the end – a fairly difficult bit of stagecraft, at that. Honestly, I loved his work – this isn’t simply faghag inclination toward a perfectly adorable faggot (Justin – I’ve no clue about Riley).

I have a special affection for Chicago’s small storefront theatres. I love being engulfed in the performers’ pheromone cloud. More significantly, I am consistently awestruck at the excellence of the casts and production crews in these presumably insignificant venues, rivalling – even surpassing – the large professional productions in the Loop and other glittering venues. I applaud David G. Zak for bringing his long mastery to work with the Second City’s abundance of unsung prodigies.

MR PARKER explores many universal questions and themes: how do love and sexuality interact? how, when, and for how long should grief be expressed? how does personal loss affect one’s other relationships? what are the ‘acceptable’ age boundaries for couples? And, most importantly (to me, any road), how do unspoken mandates and exigencies prevent our aging with joy?

I’m always amazed at how skillfully Open Space Arts’ production crew utilizes the restricted and compromised (6” pipe through centre stage? 6.5’ ceiling?) space. But clearly Set Designer Anna Burke and Lighting Designer Lex Newmane see these not as flaws but as creative challenges, which they most assuredly rise to. Stage Manager Lauren Littlejohn, with Assistant Kate Schnetzer, keep the company focused, despite three (three!) entrances and a ceiling that brushes heads. Open Space Arts is a classic Chicago storefront theater; one isn’t just seeing a play but enjoying a unique theatrical experience. Oh yeah! Angela Joy Baldasare managed Sound Design, and Intimacy Coordinator Greta Zandstra artfully demonstrated the complexity of emotional relationships.

It's my opinion that MR PARKER would benefit from a bit of judicious editing. Much of the script flowed evenly but some transitions were more ragged.  In particular I found some of Terry’s (Andrew Kain Miller) solo scenes superfluous – though my companion was most moved by Terry’s soliloquies… de gustibus non disputandum, n’est-ce pas? Personally, I would have liked to see more of and about Cassie (Mary Ann Bowman) … or maybe I just lusted after her wardrobe! especially that luscious black blouse with pave-set rhinestones at the neckline and cuffs. Can I have it when you’re done with it, Costume Designer Benjamin Mills??

Overall, I recommend MR PARKER as an excellent theatrical experience. I think perhaps my enjoyment was enhanced by events immediately preceding and following the play – repeated instances of the kindness of strangers. Certainly, that is welcome in today’s political zeitgeist.

MR PARKER is playing at Open Space Arts through March 2nd – plenty of time to get a ticket, and a wonderful choice for Valentine’s Day!

Some 60 years ago black intellectual and littérateur James Baldwin met with the leading conservative spokesman and author of his day, William F. Buckley, Jr., to debate what seemed a startling proposition in 1965: “Is the American Dream at the Expense of the American Negro?”

Held at the University of Cambridge in the UK, the debate was televised on BBC, then rebroadcast to U.S. audiences on public television.

Now adapted for the stage and directed by Christopher McElroen, audiences can witness the heart of this historic event in the Chicago premiere of american vicarious’ “Debate: Baldwin vs. Buckley” at the DePaul University Chicago campus. It's an immersive experience, in the sense it is staged in a former gathering hall of McCormick Theological Seminary, with architectural similarities to the Cambridge setting. The show has also run in New York and London prior to its Chicago arrival.

At DePaul, McElroen, who has been developing this production for the past four years, uses original footage from the debate to provide context, leading in with large screen projections of the introductions of Buckley and Baldwin before the original audience—700 students and guests seated in the debate hall at Cambridge. This approach not only provides historic context, but melds the original event with the experience of the live debate being re-enacted for audiences at DePaul.

And as if on cue, this live audience applauds along with the Cambridge attendees of 60 years ago to welcome the live speakers.

As the projected moderator from Cambridge footage introduces them, we meet a live James Baldwin (played by Teagle F. Bougere) and William F. Buckley, Jr. (Eric T. Miller). The projection disappears and we are in the throes of the debate. As at Cambridge, live student moderators introduced core aspects of the arguments for and against the proposition. In the live DePaul theater, acting students take these roles in rotation at each performance.

Baldwin lays out key points in a speech that is methodically plotted out, but intuitively driven: that one must realize that there are different realities experienced by Blacks and whites, and so even the framing of the question is unbalanced:

I have to put it that way – ones sense, ones system of reality. It would seem to me the proposition before the House, and I would put it that way, is the American Dream at the expense of the American Negro, or the American Dream *is* at the expense of the American Negro. Is the question hideously loaded, and then ones response to that question – ones reaction to that question – has to depend on effect and, in effect, where you find yourself in the world, what your sense of reality is, what your system of reality is. That is, it depends on assumptions which we hold so deeply so as to be scarcely aware of them.

Eric T. Miller as William F. Buckley, Jr.

Buckley acknowledges the truth to Baldwin’s contention that Blacks live with less than whites, earn less, and fewer have achieved wealth and accomplishment within U.S. society. But Buckley asserts that Blacks must try harder; that as a people they have not advanced themselves, and once they do, they will live in equality. Buckley doesn't want to upset the applecart and believes that America supports Black equality.

The fundamental friend of the Negroe people in the United States is the good nature and is the generosity and is the good wishes and is the decency, the fundamental decency, that do lie at the reserves of the spirit of the American people.

Well the road to hell, as they say, is paved with such good intentions. Baldwin identifies for the Cambridge audience that Western cultural imperialism as the root of the issue.

A white South African or Mississippi sharecropper, or Mississippi sheriff, or a Frenchman driven out of Algeria, all have, at bottom, a system of reality which compels them to, for example, in the case of the French exile from Algeria, to offend French reasons from having ruled Algeria. The Mississippi or Alabama sheriff, who really does believe, when he’s facing a Negro boy or girl, that this woman, this man, this child must be insane to attack the system to which he owes his entire identity.

Of course, to such a person, the proposition which we are trying to discuss here tonight does not exist. And on the other hand, I have to speak as one of the people who’ve been most attacked by what we now must here call the Western or European system of reality. What white people in the world, what we call white supremacy – I hate to say it here – comes from Europe. It’s how it got to America. Beneath then, whatever one’s reaction to this proposition is, has to be the question of whether or not civilizations can be considered, as such, equal, or whether one’s civilization has the right to overtake and subjugate, and, in fact, to destroy another.

The production at DePaul illuminates the tremendous courage, and intellectual self-possession of Baldwin, who likens himself to the Biblical prophet Jeremiah, speaking unwelcome truths.

How does this simulation differ from the original debate? In the historic footage, Baldwin spoke as the only Black in a sea of white faces. Seated in the round, the live audience at DePaul was predominantly white, but now people of color are present as well, heightening the witness to the shamefulness of Buckley’s serious argument that Blacks needn’t complain, as their lives have measurably improved.

As with the original, Baldwin here is poetic and theatrical, and Bougere’s rendering of him is quite excellent. While the show’s setting at DePaul’s gothic wood trussed Cortelyou Commons hall is visually in keeping with its Cambridge cousin, the acoustics present challenges for the cast. Bougere, working with Baldwin’s clear language, works the room, projecting powerfully to the ceiling and pacing the stage in measured strides.

The historic Buckley, with his mid-Atlantic accent and overblown vocabulary, cannot help but come across as condescending in the original. Miller’s rendition of Buckley carries off with the same air of entitlement, jettisoning the Mid-Atlantic drawl, but still mired in Buckley’s sometimes convoluted sentences, and a occasionally obscure vocabulary that makes him sound like he is speaking with a mouthful of mutton.

Likewise sound quality is a challenge in displaying the spotty footage from the original broadcast. But the essence comes across directly and powerfully.

In an after-show audience comments session led by director McElreon, a common lament expressed is that we are still struggling with the issues of racism in our theoretically more enlightened times. Frankly, racism can only be addressed by a societal willingness for systemic change. And in truth, the only difference between what Buckley had to say in 1965, is that we can hear, and understand him, just a little better now.

TimeLine’s Chicago premiere production of the american vicarious’ “Debate: Baldwin Vs. Buckley,” is presented in partnership with the american vicarious and The Theatre School at DePaul University runs through March 2 at DePaul’s Cortelyou Commons, 2324 N. Fremont Street, in Chicago’s Lincoln Park neighborhood.

Buffalo Theatre Ensemble’s latest offering, Native Gardens by Karen Zacarias, is a riotous comedy that delves into the quirky world of suburban gardening and neighborly tiffs. The plot blossoms around two neighboring couples in Washington D.C. On one side, there's Pablo, a high-powered lawyer from Chile with a wealthy background, and his very pregnant wife, Tania, a doctoral candidate and avid gardener. They're ecstatic about transforming their new backyard into a vibrant native garden that attracts the right kind of insects that add to a healthy ecosystem. They are a younger couple, new to the neighborhood, with a bright future ahead.

On the other side, there's Frank and Virginia, a well-established couple with a perfectly manicured, non-native garden. Frank is laser-focused on winning the neighborhood's annual gardening competition. At first, the two couples get along swimmingly, but things take a thorny turn when Pablo and Tania discover that their property line extends two feet into Frank's cherished garden. This revelation ignites a full-blown border dispute, with both couples revealing their true colors as they clash over race, class, privilege, and taste.

As the conflict heats up, the play explores themes of cultural differences, environmentalism, and the challenges of living harmoniously with others. Despite the tension, Native Gardens ultimately offers a hopeful message about finding common ground. While there are plenty of profound moments that point out the short-comings and hypocrisies on both sides of the fence (pun intended), there are also many moments that share joint interests between the two couples, giving audience members the feeling that compromise, and even friendship, can be reached with a little effort once the egos are left at the door and true respect and understanding for each other is realized. 

The sparring couples are wonderfully cast - and are a hoot to watch! Richard Gomez and Sofia Tew are convincing as Pablo and Tania De Valle, each executing rapid fire line delivery with just the right amount of finesse and humor. Frank and Virginia Buckley are played by Bryan Burke and Kelli Walker and are fantastic together as the long-term residents who look to fend off the newcomers - despite the official survey findings. With no shortage of hilarious moments, this play has a lot of fun with generation gaps, culture clashes and of course the various things neighbors might squabble about. One won’t be able to help but get into the characters within the first few minutes and, like a freight train, the momentum of this play just keeps building as it goes.     

Keenly directed by Steve Scott, Native Garden’s delightful blend of humor and social commentary will have you laughing and reflecting long after the final curtain call. 

Nestled in the backyards of two Georgetown homes, each with contrasting landscaping visions that irk their new neighbors, you can only imagine the craziness that will ensue. Fortunately, there’s nothing for you to do but sit back and enjoy the garden wars!

Where: The Playhouse Theatre at the McAninch Arts Center (The MAC) in Glen Ellyn, Illinois. Additionally, the theatre is thoughtfully designed with increased accessibility features, such as elevators, wheelchair ramps, accessible seating, and assistive listening devices, making it a comfortable and inclusive venue for all attendees, including those with disabilities. Pro tip when selecting tickets - if stairs are challenging for you or your companion(s), the first row does not require any steps at all and the second row just a couple.

When: Native Gardens is running through March 2nd. 

Tickets: $44 and $42 for seniors. 

Theatre/Play Information: For tickets and/or more show information, visit http://atthemac.org/events/native-gardens/.

It’s Athol’s turn to speak. The lights have come up on his side of the stage and Morna fades into the dark background. Athol is sharing details about his nephew, Josh’s, visit. In this particular memory, Athol and Josh are having lunch at a pub. The conversation remains surface-level at the beginning. Athol and Josh’s mother, Morna, have not been on speaking terms for some time, and Josh seems to understand that it’s complicated. Then Josh shares that his mother was sick, and Athol is taken aback.

“You could have told me.”

“…You could have asked.”

The change in Athol’s demeanor is subtle, and Peter Moore plays that nuance beautifully. There is a small, quick pause before Athol changes the subject and continues on with the conversation. However, it’s clear that Athol is uncomfortable with Josh’s critique – especially because he knows Josh is right. Relationships are a two-way street, and this standoff between Morna and Athol has to end eventually. The question is, who is going to make the first move?

Written by David Harrower, A Slow Air is a two-hander that follows Athol (Peter Moore) and Morna (Kendra Thulin). The siblings have not spoken in years, and despite how close they live to each other, neither has taken a step forward to try and mend the relationship. Harrower’s play features a series of monologues from each of the characters. Over the course of the play, we hear each of their personal accounts of why the relationship is so estranged, and what each may need in order to overcome all the pain of the past.

Cleverly directed by Robin Witt, A Slow Air is deeply moving. Scenic Designer Sotirios Livaditis embraces the intimacy at the Edge Theater Off-Broadway – creating a playing space for the actors that leaves very little distance between the audience and themselves. The stage itself features a hallway with two doors – two entrances that are only used at the beginning and end of the play when the actors enter and exit. You may even find as an audience member that you almost feel like a scene partner in the story – a much-needed confidant as the characters muddle through their troubles. With so little to distract from the actors on stage, Witt lifts up the words themselves, inviting the audience into this estranged relationship. You may find yourself leaning in at times, feeling almost tempted to shake one of the characters into a different decision that could bring some healing.

It is no easy task to carry such an emotional play – especially with the added challenge of no breaks and only speaking in monologues to the audience. However, Thulin and Moore rise to the challenge with ease. The performances are genuine, and Harrower’s exploration of the relationship feels authentic and thoughtful. Family can be tough, and sometimes, the path to healing can take time – a journey that many in the audience are likely to understand.

Strong performances and clever directing make A Slow Air a night of emotional curiosity. Steep Theatre is often known for their grounded, thought-provoking productions. You just might find is a perfect addition to that list.

RECOMMENDED

A Slow Air runs through March 1, 2025 at the Edge Theater Off-Broadway – 1133 W Catalpa Avenue. See the Steep Theatre website for further information regarding tickets.

One of the things I have always enjoyed and admired most about Chicago Shakespeare Theatre is their willingness to bring fresh ways to experience Shakespeare’s classic works as well as bringing new works and voices to the stage. Avaaz, which opened on Jan. 24, is no exception. And we are the better for it.

It is the first time that Chicago Shakes has welcomed to its stage an Iranian-American playwright, Michael Shayan, as he shares the story of his mother, an Iranian-Jewish immigrant, and her deeply personal journey from Tehran to “Tehran-geles,” California. 

Shayan, who is an Emmy-nominated and Harvard-trained writer and actor, not only wrote the play, but he also is the star of this one-person production with his energetic and engaging portrayal of his larger-than-life mother, Roya. It is funny, life-affirming, joyous, yet at times, tragic, as Shayan grapples with his mother’s experiences in forging a new life in America, while also exploring his complicated relationship with his mother.

We first meet Roya before the show even begins as she sashays through the audience in her glittering gold kaftan, welcoming playgoers and encouraging them to join her in shimmying their shoulders to the pulsing Iranian music. (In fact, before the performance on Jan. 28, there is a free workshop to learn Middle Eastern dancing.) We are there to party with Roya, as she prepares for the celebration of Nowruz, the Persian New Year, which is all about renewal and rebirth.

The centerpiece of Nowruz is the Haft Sin table, and indeed, that elaborate buffet is also the focal point of the set. Throughout the 90-minute production, Roya moves about the Haft Sin table, explaining the symbolism of seven food items on the table while interweaving her story.

Appropriately, Avaaz means “voice,” and we are hearing Roya’s voice as she shares about her life growing up in Teheran (the best city in Iran, she affirms), her beloved father’s imprisonment for his activism during the Iranian revolution, her loveless arranged and abusive marriage, and her underlying desire to make a better life for her son. As Roya, Shayan brings her story to life with equal doses of humor and compassion and the audience is immediately captivated.

For Shayan, the production is his heartfelt tribute to his mother. While growing up, Shayan said his mother never really talked to him about his past. At one point, he asked if he could interview her, and once the recorder was turned on, Roya opened up. The subsequent interview became the impetus for the piece. In fact, the play closes with snippets from that original recording and we hear Roya’s own voice as well.

While Shayan says the play is at its core about the mother-son relationship, is also touches on the ongoing women-led revolution happening in Iran right now. In many respects, Shayan says, what Roya experienced 40 years ago in Iran parallels what is going on now.

“One call coming out of Iran is to ‘be our voice,’ and I think that’s part of what we can contribute as artists – in some small way, I can help amplify the voices of those who are crying out for ‘Woman. Life. Freedom,’” he said.

Chicago Shakes is one of the many planned stops for the production on its inaugural national tour. Directed by Tony Award nominee, Moritz Von Stuelpnagel, Avaaz is one of those theatre experiences that lingers with you long after the performance is over. You leave the theatre grateful you were invited to be part of Roya’s world and culturally enriched because of it.

Avaaz is playing at Chicago Shakespeare through Feb. 9. Visit here for more information.

James Ijames' Pulitzer Prize-winning play, Fat Ham, bursts onto the Goodman Theatre stage in a vibrant, deeply resonant co-production with Definition Theatre. Directed with an expert hand by Definition Theatre's Artistic Director Tyrone Phillips, this contemporary reinvention of Hamlet dazzles with humor, heart, and a profound exploration of identity, toxic masculinity, and generational burdens.

Set in a Southern backyard during a family barbecue, Fat Ham transforms Shakespeare's dark tragedy into a poignant yet hilarious meditation on living one's truth. At the center of this narrative is Juicy, played with remarkable nuance and emotional depth by Trumane Alston. Juicy's journey of self-discovery unfolds amid the ghosts—both literal and figurative—of his family's past, grappling with expectations of masculinity and the weight of inherited trauma.

Alston's performance is layered and compelling; his Juicy is introspective and tender yet brimming with an undercurrent of resilience, given time he will lean more into the character arc. His comedic timing is impeccable, delivering Ijames' sharp and incisive dialogue with a natural ease that invites the audience into his emotional world. Juicy's interactions with his spirited best friend Tio, brought to life by the dynamic Victor Musoni, provide some of the play's most humorous and thought-provoking moments. Musoni's portrayal of Tio is electric, offering a counterpoint to Juicy's introspection with boundless energy and unfiltered wisdom.

Ronald Connor impresses in the dual role of Rev and Pap, seamlessly shifting between the domineering ghost of Juicy's father and the charismatic over-sexed preacher presiding over family affairs. His presence looms large, embodying the toxic masculinity that haunts Juicy's world with an intensity that is both chilling and oddly comedic. Opposite him, Anji White as Tedra, Juicy's vivacious mother, delivers a powerhouse performance—balancing maternal warmth with an underlying desperation to escape her own past.

Ireon Roach’s Opal is a revelation, with her confidence simmering to the surface, while Sheldon Brown’s Larry, a stoic Marine grappling with his own identity, offers a poignant reflection of the play’s central themes. And no production would be complete without the powerhouse that is E. Faye Butler, whose presence on stage is nothing short of magical.

The technical elements of the production elevate the storytelling to new heights. Arnel Sancianco’s set design captures the essence of a Southern backyard with rich, lived-in detail, creating a tangible sense of place that enhances the play’s themes of home and heritage. Jos N. Banks’ costume designs are vibrant and character-driven, reflecting each individual's inner conflicts and outward personas. Jason Lynch’s lighting design cleverly shifts from naturalistic warmth to eerie supernatural hues, underscoring the play’s tonal shifts. Meanwhile, Willow James’ sound design punctuates the emotional beats with a careful blend of music and ambient sounds that ground the play’s heightened moments.

Phillips’ direction is both deft and sensitive. He embraces the play's comedic elements without undercutting its emotional weight. He crafts a production that honors Ijames’ bold vision while allowing the cast to fully explore the complexities of their characters.

Fat Ham is a triumph—an innovative, riotously funny, and ultimately moving exploration of what it means to break free from the ghosts of the past and forge an authentic future. Whether you're a Shakespeare purist or someone looking for a fresh, contemporary take on a classic story, this production offers something truly special.

With an outstanding ensemble, sharp direction, and a creative team firing on all cylinders, Fat Ham at Goodman Theatre is a must-see theatrical event that redefines what it means to inherit, to resist, and to thine own self be true.

Highly Recommended
When:    Through March 2
Where:  Goodman Theatre, 170 N. Dearborn St.
Tickets:  $25 - $85
Info:     Goodmantheatre.org/Ham

Before Alison Bechdel became famously associated with her “Bechdel Test” for evaluating fiction by how women are portrayed, she published the now classic graphic novel ‘Fun Home’. Through meticulously created panels, Bechdel explores her splintered relationship with her father who died shortly after she came out to him.

Renowned composer Jeanine Tesori collaborated with Lisa Kron to adapt Bechdel’s graphic novel into a stage musical. Following significant rewrites, the 2013 off-Broadway production transferred to Broadway in 2015. The production went on to garner several Tony nominations as well as a nomination for the 2014 Pulitzer Prize.

Porchlight Music Theatre brings ‘Fun Home’ back to Chicago in an all-new revival directed by Stephen Shellhardt. There’s a freshness to this production that strives less for technical perfection but instead for a full-throated sense of emotion. Alanna Chavez leads the cast as the full-grown narrator Allison reflecting back on her childhood, While Patrick Byrnes plays her father Bruce with whom she has a complex relationship. In a series of non-linear memories and heartbreaking songs, ‘Fun Home’ combs through Bechdel’s memories for explanations for her father’s apparent suicide.

This revival isn’t trying to be the Broadway tour and it’s all the better for it. As evidenced by the part of Allison’s mother originated by Judy Kuhn played here by Neala Barron with a wildly different take. Gone is the passive mid-century housewife this part is typically played as. Barron takes Helen in a darker direction that perhaps more accurately captures the suppressed rage flowing through Tesori’s music.

In many ways, ‘Fun Home’ is a story about how emotional abuse as a child impacts the adults we become. Shellhardt’s interpretation doesn’t gloss over the more unsettling details of Bechdel’s relationship with her father. Byrnes gives a cool, but certainly not reserved performance that thrillingly straddles the line between scary and vulnerable.

Small but cleverly dressed staging helps the beautiful harmonies soar. One thing Porchlight can always be counted on for is the music. Even the arrangements seem slightly reinterpreted for this production. As the 100-minute show narrows its focus onto the exact moment Bechdel’s father’s life reached a crisis point, Tesori and Kron’s score goes for the jugular in duets like ‘Telephone Wire’ between Barron and Byrnes.

Though ‘Fun Home’ deals with heavy issues around suicide, closeted homosexuality and dysfunctional family relationships, it’s also a story of queer celebration. Bechdel’s father may not have been comfortable with who he really was, but Bechdel’s life and success is a living testament to shifting generational mores. Thanks to a more tolerant world, Allison Bechdel was able to live her life in a way her father never could.

‘Fun Home’ continues to shine as one of Broadway’s most original queer musicals, specifically because of its female protagonist. The sumptuous music by Jeanine Tesori and Lisa Kron brings out the bittersweetness of Bechdel’s graphic novel. Porchlight’s version feels as relevant today as ever and in the hands of this well-curated cast, ‘Fun Home’ soars off the stage.

Through March 2 at Porchlight Music Theatre at Ruth Page Center for the Arts. 1016 N Dearborn. (773) 777-9884

Brightside Theatre's latest production, Jekyll And Hyde In Concert is a truly mesmerizing experience. And if you are a Chicago resident like myself, this theatrical performance is well worth the not-so-long trek to the burbs. The musicians and the impressive array of talented singers delivered a performance that seized my attention from the very start and held me spellbound throughout. With cozy table seating on the floor and traditional theater seating in the rear, there isn't a bad spot in the house. The acoustics are superb, and the singers frequently stroll through the audience, creating an immersive and intimate experience.

Jekyll and Hyde In Concert rejuvenates the eerie narrative of The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson. This musical retelling masterfully brings the enthralling story to life on stage, showcasing the complexity of human nature through riveting songs and dynamic performances. The plot centers on the esteemed Dr. Henry Jekyll, whose attempt to distinguish the good from the evil within himself results in the birth of the malevolent Edward Hyde. As Hyde's horrifying deeds escalate uncontrollably, Jekyll battles with the monster he has unleashed, culminating in a heart-wrenching and inevitable end. The concert format accentuates the stirring score, featuring unforgettable pieces that illuminate the internal and external struggles of the characters. With its powerful melodies and expressive lyrics, the audience is drawn into the mesmerizing and dark world of Jekyll and Hyde, promising an unforgettable theatrical journey.

Picture a theater abuzz with excitement as the audience prepares for an "on book" concert performance of Jekyll And Hyde. The performers, each clutching their scripts and scores, take their places at music stands arranged across the stage. Behind them, a full orchestra sits poised, instruments at the ready. Magical.

As the orchestra dives into the stirring opening notes, the performers join in, bringing to life characters such as Dr. Henry Jekyll, Lucy Harris, Emma Carew, and Sir Danvers Carew with their powerful vocals and deep emotion. The "on book" format adds an intimate, unpolished charm to the performance, allowing the audience to focus on the music and the performers' interpretations. Throughout the concert, the orchestra's lush harmonies and soaring crescendos amplify the drama and intensity of the story, creating a gripping and immersive experience. This fusion of live orchestration and on-book singing offers a distinct and unforgettable rendition of the cherished musical.

Gerald Kelel masterfully leads this concert, seamlessly transitioning between the roles of Dr. Henry Jekyll and Edward Hyde, executing each note with precision and authority. Rachel Carreras as Lucy Harris and Julie Ann Kornak as Emma Carew also deliver standout performances, showcasing their impressive vocal range. Veteran stage actor Stan Austin shines as Sir Danvers Carew, bringing intensity and robust vocals to the role. While the entire cast is brimming with talent, both Molly Bremer and Sean Rhead each have their moments to highlight their remarkable vocal prowess. This is just a brilliant piece of theatre in concert form that was such a pleasure to watch.

This particular performance of Jekyll And Hyde In Concert is a highlight of Brightside Theatre’s Concert Series, following the company’s spectacular run of Dracula. Artistic Director Jeffrey Cass has skillfully curated the upcoming season, featuring Beetlejuice Jr., Pippin, and A Midsummer Night’s Dream, promising an exhilarating 2025.

Brightside Theatre, nestled in the heart of Naperville's historic downtown district, is a professional non-profit theatre company dedicated to enlightening, educating, and entertaining audiences. Established in 2011, it holds the distinction of being the only professional non-profit theatre in Naperville. Brightside Theatre's diverse offerings include comedies, inspirational stories from around the globe, mainstage productions, a musical theatre concert series, and a free Summer in the Parks Series. They also provide educational programs and summer camps for young performers. Recognized with multiple awards, Brightside Theatre has been named the Best Entertainment Venue by Naperville Magazine for five consecutive years.

RECOMMENDED!

Jekyll And Hyde In Concert

About: Conceived for the stage by Frank Wildhorn and Steve Cuden

Music by Frank Wildhorn, Book and Lyrics by Leslie Bricusse

Directed by De Haddad

Musical Direction by Phil Videckis

2 hours 15 minutes including intermission

Where: Madden Theatre, North Central College, 171 Chicago Avenue, Naperville, IL

When: Fridays and Saturdays at 7:30 pm and Sundays at 2:00 pm from January 17 through 26, 2025.

Tickets: $37 for Adults and $32 for Seniors and Students

Show and Theatre Information: http://www.brightsidetheatre.com/ 

JaJa’s African Hair Braiding, written by first-generation Ghanaian American playwright Jocelyn Bioh and directed by Obie Award-winning Whitney White, is a vibrant celebration of the resilience, community, and complexity of West African immigrant women striving to establish their place in New York City. Currently receiving an acclaimed production at Chicago Shakespeare Theater, the play offers a poignant, colorful, and often humorous exploration of identity, survival, and aspiration in the face of challenges such as undocumented status, systemic inequities, and cultural displacement.

Set in a bustling Harlem hair braiding salon, the production immerses the audience in a world where conversations flow as freely as the braiding hands of skilled stylists. David Zinn’s set design meticulously recreates a Harlem salon, complete with brightly painted walls and posters of intricate braid designs. A steady stream of music fills the space, creating an environment that pulsates with life. Whitney White’s direction ensures every corner of this intimate setting remains vibrant with activity, embodying the controlled chaos where clients, stylists, and commerce intersect.

Bioh’s talent for crafting razor-sharp dialogue between women is fully realized here—no surprise from the playwright behind School Girls; or, the African Mean Girls Play. She skillfully weaves together a rich tapestry of personalities and cultural backgrounds, resulting in an ensemble that crackles with authenticity and charm.

At the heart of the story is JaJa, portrayed with commanding presence by Victoire Charles, and her daughter Marie, played with youthful vigor by Jordan Rice. Both Senegalese women have aspirations that stretch beyond their circumstances. Aisha Sougou’s Ndidi, a Nigerian with an encyclopedic knowledge of the soap operas playing in the salon, serves as a comedic anchor. Meanwhile, Awa Sal Secka’s Bea, a proud Ghanaian and longtime employee, offers a compelling foil to Ndidi’s antics, resisting with simmering resentment but asserting herself as the true Queen Bee when necessary. Tiffany Renee Johnson, last seen in Blues for An Alabama Sky, delivers a standout performance as Aminata, Bea’s devoted gossip partner, now preoccupied with her own troubles.

Bisserat Tseggai infuses Miriam, a Sierra Leonean longing for lost love, with a tender wistfulness, while Mia Ellis’s Jennifer spends the entire day getting her hair done and dispensing advice. Special mention must be made of the chameleon-like talents of Melanie Brezill, a standout in Stokley: The Unfinished Revolution, and Leovina Charles, who nimbly juggles six different customer roles between them, injecting each with distinct personality. Yao Dogbe, whom I last saw in Intimate Apparel, is the lone male in the cast and effortlessly steps into various roles with charm and versatility.

Illegal immigration is a central theme in JaJa’s African Hair Braiding, and Bioh handles it with nuance and compassion. The fear of deportation and the pressures of living in the shadows are palpable, yet these issues are presented with sensitivity, avoiding one-dimensional portrayals. Instead, the play highlights the characters' individuality, dreams, and relationships, reminding the audience of the humanity behind the headlines.

The artistry of Hair and Wig Designer Nikiya Mathis truly steals the spotlight in this production. As the first wig designer to receive a special Tony Award for her groundbreaking work on the Broadway production, Mathis brings her award-winning expertise to Chicago Shakespeare Theater with stunning results. Each intricate braid and carefully styled wig not only enhance the authenticity of the characters but also serves as a visual testament to the cultural richness at the heart of the story. Complementing Mathis’s work is Costume Designer Dede Ayite, whose keen eye for detail and vibrant selections beautifully capture the essence of each character, reflecting their personalities and cultural heritage with remarkable precision. Together, Mathis and Ayite create a visually immersive experience that elevates the production to new heights.

JaJa’s African Hair Braiding is a testament to the power of storytelling in illuminating the lives of those often overlooked. Through its richly drawn characters, sharp writing, and dynamic direction, the play captures the essence of a community striving against the odds, celebrating their culture while forging paths toward a better future. It’s a timely, heartfelt production that leaves audiences not only entertained but also more empathetic and informed about the realities faced by so many immigrants in America and today, don’t we need more empathy

Highly Recommended
When: Through Feb. 2
Where:  Chicago Shakespeare Theatre 800 East Grand Avenue in Chicago.
Tickets: $30 - $90
Info:  www.chicagoshakespeare.com

We all have Christmas rituals; practices we incorporate into our personal experiences of the holidays.  For me, it used to be reading all three books of The Lord of the Rings. This has naturally morphed into watching all three extended-version DVD’s – a significant investment of time, but far less than reading the entire trilogy was! Yet another reason to be thankful for and to Peter Jackson.

If your holiday ritual entails music, chances are it includes Handel’s Messiah, a glorious Baroque musical tribute to the celebration of Jesus’ birth. But – no disrespect intended but I’m tellin’ you now: if you haven’t heard the Jazz-Gospel Messiah, you ain’t heard Handel’s Messiah!

Almost 300 years ago Georg Frideric Handel composed his legendary Messiah and the accompanying Hallelujah Chorus, and it’s been thrilling audiences ever since. About 30 years ago Maestra Marin Alsop, chief conductor of the Vienna Radio Symphony, undertook to re-invent this masterpiece and, with co-arrangers and -orchestrators Bob Christianson and Gary Anderson, created a new sensation, TOO HOT TO HANDEL.  They recognized that classical European liturgical music is not, as some may believe, antithetical to more modern forms like jazz and gospel, or even rap and scat. Alsop is by no means the first to modify Handel’s work: during Handel’s lifetime, many performers (including Mozart) sought to embellish, ornament, and improvise … and improvisation is, by its very nature, jazz-like.

Even the original, unadorned Messiah is beautiful, but when some years ago Alsop informed a friend she was doing Messiah their response was, ‘yeah, I like the ending with the hallelujahs, but the rest is boring’. Seeing that this was accurate but not right, Alsop began work on what would be TOO HOT TO HANDEL, and ever since it premiered in 1993 audiences have been standing and clapping and shouting and dancing in the aisles!  Certainly, they were doing all that and more last weekend at the Auditorium Theatre!

The orchestra included guest artists from the Chicago Symphony Orchestra with George Stelluto as Music Director and Conductor. Fred Nelson III, Director of the Chicago Collective Rhythm Section, manned the organ while Alvin Waddles made magic on the piano. Drummer Quin Anderson, Joseph Woolfalk on electric guitar, and Sharay Reed playing bass (both string and electric) transported the classical orchestra into jazz-hood (jazz-ness? jazz-dom? whatever). The choir (more than 80!) was directed by Bill Fraher, and they were fabulous, swaying and rocking, clapping and nodding and ultimately dancing along as joy filled the Auditorium.

The three solo vocalists were spectacular: alto Karen Marie Richardson, soprano Alfreda Burke and tenor Rod Dixon. Dixon in particular was absolutely breathtaking! He did so much more than sing – he spun and leapt, flung his arms out in ecstasy and up in supplication; his face mirrored the emotion of each piece. His free-spirited performance gave the audience license to be just as impetuous and unconstrained.

I’m going to back up here, as the venue deserves note.  The Auditorium Theatre was built in 1898 and certainly looks it! The marble-tiled floors dip and slant; marking the stairs with tape makes them easier to see but no less erratic and uneven … but I’m focusing on this because I personally have some ambulatory challenges; if your walk is steady, you’ll see these details as a feature rather than a defect, because the beautiful features of the Aud are abundant. It was, as I said, built in 1898, before budgets overruled beauty. The result is an enormous edifice of surpassing elegance and grandeur that simply couldn’t happen in 2025. If you’ve never seen it, find a way to do so. It’s a splendid Chicago landmark.

TOO HOT TO HANDEL is not an overlong production, but it’s so lavish that it felt like we’d been there for hours before Intermission: through Behold, a Virgin Shall Conceive; For Unto Us a Child is Born, culminating in the Angels singing Glory to God – Part I was so lush that we were a bit confused. People were taking up their coats and making their way up the aisles – was this Intermission or was it the End? But wait! we hadn’t heard the Hallelujah chorus! so this simply could not be the end. And sure enough, the performers returned after their well-deserved break. Part II opened with Rejoice Greatly, O Daughter of Zion; Behold the Lamb of God; The Trumpet Shall Sound; culminating finally with King of Kings, Lord of Lords … and He shall reign forever and ever … HALLELUJAH! The orchestra was rockin’, the chorus was dancing on the risers, the soloists were giving their all, the audience was on its feet applauding, and we were all suffused with wonder and joy. HALLELUJAH!  

Rivalling the Hallelujah Chorus was a truly magnificent piano solo, where Alvin Waddles elicited cheers and laughter with an extensive medley, wandering from Gershwin to Celine Dion, from pop to rock to rap … a truly stunning performance.

I need to give a shoutout here to Light Designer Matt Miller and Video Director John Petrosky, for the videography was stellar. Even from orchestra seats there were so many performers onstage it was impossible to see individuals. Petrosky was on it, though: a huge screen was mounted behind the choir, providing us closeups of soloists, conductors, and various artists. I just thought of it now because of how superbly the videos followed Waddles’ hands on the keys!

Jazz and gospel are predominantly associated with African American artists, and that was certainly reflected in TOO HOT TO HANDEL. Most (all?) of the soloists, voice and instrumental, were African American, and it’s no coincidence that TOO HOT TO HANDEL appears on the Chicago stage on or around Martin Luther King Day. TOO HOT TO HANDEL is, like Kwanzaa, a singularly African-American holiday celebration.

The original Messiah is unquestionably a beautiful work of art, but it is also ponderous and staid – like most European Christian music and ceremony it’s measured, methodic, orthodox … in a word, white. Alsop’s genius was to maintain all the splendor of Handel’s Messiah while uniting it with the joyous spirit of modern gospel music and the unconstrained freedom of jazz. She forged a merger between the restraint of traditional European (white) liturgical music and the exuberance of the gospel (Black) style of worship, utilizing the whimsy and spontaneity of jazz. As my companion said, “imagine how you’d feel upon learning that ‘unto us a Child is given.’ That sort of news inspires exultation and jubilation!” TOO HOT TO HANDEL renders that joy without losing the elegance of Handel’s original. Hallelujah!

There were only two performances, Friday January 10 and Saturday January 11. However, TOO HOT TO HANDEL has reappeared on the Chicago stage every year since 2006, on or around Martin Luther King Day, so mark your calendars for mid-January 2026! The production will be back, and it is VERY HIGHLY RECOMMENDED.