Items filtered by date: November 2007

Collaborations can produce tremendous results and the one between Nathan Gunn, his wife Julie Jordan Gunn and Jam Orchestra counts as a particularly splendid example. Nathan Gunn & Friends: Beloved Broadway, a tribute to some of the finest music produced on Broadway, had nestled within it an ulterior agenda Saturday night.  Along with a maelstrom of delightful music, it provided an ideal platform for displaying the highly impressive talent being nurtured and developed at Lyric Theater @ Illinois (LTI).  A first of its kind program on the University of Illinois’ Champaign campus, LTI provides its students with a comprehensive foundation of “sung theatre”.  Created by Mr. and Mrs. Gunn nearly a decade ago, the program entrenches a thorough understanding and proficiency in “traditional European opera, American Musical Theatre and new, contemporary works”.  

Each an alumnus of U of I, both Nathan and Julie Gunn have achieved exemplary success in their musical careers.  Opera lovers well know why the Opera Wire has called Mr. Gunn one of the great baritones of our time and Mrs. Gunn has enjoyed luminous success as a pianist and musical director.  Their rich experience in the many facets of musical performance would be an invaluable asset in any learning environment.  Together they worked with Aaron Kaplan of the Chicago based ensemble, Jam Orchestra, to bring a world class tableau of music and song to the community.  In this case, Evanston’s Nichols Concert Hall on a clear and frigid January evening.  

A feast of plenty, the program concentrated on seven Broadway shows well suited for orchestration.  Works were also selected on how well they displayed daring and musical innovation at the time they were produced. Some of the selections like Rogers and Hammerstein’s “If I Loved You” from Carousel and “Maria” from West Side Story are imminently well known.  Others like “Lily’s Eyes” from The Secret Garden and “What Good Would the Moon Be” from Street Scene are likely less so.  Beloved Broadway with Gunn and friends puts them all on equal footing and shows why each stands a musical milestone.

Produced by Julie Gunn and co-directed by herself, her husband and Kaplan, Beloved Broadway turns into a fascinating gambol through excellence.  That journey proved to have a stealthy edge.  At the beginning of both acts, the orchestra displayed its considerable chops with renditions devoid of voice accompaniment.  First with “The Carousel Waltz” and later with the Bernstein’s “Overture to Candide”, Jam Orchestra set high expectations for what was to follow.  

As pleasing as the opening songs from Carousel were, an elusive passion-defining spark had yet to be struck. Glimmers of that fire could be detected in Lisa Buhelos’ voice as she sang “When the Children are Asleep” with Eldon Warner-Soriano.  And anyone who never experienced how sublimely exquisite Mr. Gunn’s baritone can be certainly got that opportunity when he performed “Soliloquy” from the musical.  Those flashes of the exceptional were just harbingers of the deluge of musical pleasure that was to come. 

All noted for their technical dexterity, masterful versatility and natural talent, the five young “friends” accompanying Gunn in this musical tribute are all graduates of LTI; and all voices one would do well to seek out.  Buhelos would once again prove herself excellent in the duet “How Could I Ever Know?” from The Secret Garden with Ryan Bryce Johnson.  A rare and magical tenor, once Johnson centered himself on the stage, he electrified.  Chill inducing, his interpretation of West Side Story’s “Maria” showed that even the best-known masterpiece can render bright new exhilarating wonder in the right hands.  The sophistication of the arrangements hugely accentuated the enjoyment of this and many other selections.  Lara Brooks would later show how subtlety produces the same effect with her sweetly delicate treatment of “Send in the Clowns”. 

There can be no tribute to Broadway without the inclusion of Sondheim and his genius is liberally sprinkled throughout the program.  One of those songs that will likely always read as radical and revolutionary, “Now/Later/Soon” from A Little Night Music exists in a league of its own.  Intricately complex, instantly engrossing and wonderfully amusing, it’s a stylistic marvel that Buhelos, Johnson and baritone Warner-Soriano perform with the deftness of well-seasoned Great White Way veterans.  Exacting requirements in timing and phrasing are essential if the flawlessness the song strives for, in truth demands, is to be achieved.  With this crew, that box is a guaranteed check. 

A performance saturated in delight, Beloved Broadway with Nathan Gunn and Friends moves superlative, uniquely American music from the bastions of city centers to the communities where people live. That gesture makes the bounty of the arts more accessible to more people and encourages those with creative impulses to continue to dream.  It’s difficult to imagine a better vehicle for carrying such an important message with such beauty and ability.  

Nathan Gunn and Friends: Beloved Broadway

January 11, 2025

Nichols Concert Hall

1490 Chicago Avenue

Evanston, IL  60201

It’s the second act, and Beau (Jake Odmark) is in quite a state. The love of his life is about to marry another man, and he doesn’t know what to do. In an effort to lift him up, his friends do what anyone in their positions should do – insult the competition and highlight all of Beau’s strengths in the process. The effort is spearheaded by Beau’s loveable younger brother, Peanut (Mike Nappi – with an adorably genuine charisma.)

“Best Man Wins” is fast-paced and hilarious - with a tune that just might invite you to dance along in your seats. As Beau sits dejected on a barrel, his friends surround him – each hopping in with an insult about this “other man” that trumps the last. Sarah O’Gleby’s choreography does not disappoint. With talented performers jumping on barrels and racing on beams throughout the farmhouse, there is an impressive feat to witness regardless of where you direct your attention on stage. As Beau becomes consumed in the positivity and joins his friends in the choreography, this particular audience roared with applause – clearly swept up in the journey alongside him.

As you take in the musical as an audience member, you might find that Shucked amazes for a number of reasons. The script is witty, and the love story is the definition of wholesome. However, in my personal opinion, what truly sets this production apart is the talent in the ensemble as a whole. The soloists in particular wow with their vocal capabilities – with Lulu (Miki Abraham), Maizy (Danielle Wade), and Beau (Jake Odmark) standing out in particular. However, every ensemble member exudes a joyful energy that is impossible not to love. This, in my opinion, is so much a part of what makes this production a success.

The Cast of The North American Tour of SHUCKED.

With book by Robert Horn and music and lyrics by Brandy Clark and Shane McNally, Shucked follows Maizy (Danielle Wade) as she sets out to save Cob County’s dying corn crop – despite her fiancé, Beau’s, wishes. She finds Gordy (Quinn Vanantwerp) in Tampa – a podiatrist she believes can be the hero they need, and one who is more than excited to trick the community into giving him their precious resources as he “heals” their crops. Much as to be expected, nothing quite goes as expected when Maizy brings this new man home. However, as with so many romantic comedies, the true lessons are in the journey, and each of the characters has a little something to learn about how to love those closest to them.

The musical features a catchy score – full of hits that are sure to keep you singing on the way home including “Corn,” “Travelin’ Song,” “OK,” and “Holy Shit.” As much as the high-energy songs wow and amaze, the slower, emotional ballads carry an equal level of wonder – particularly with the voices that perform them. Beau’s rendition of “Somebody Will” elicited cheers that lasted minutes as he completed the solo. The song appears in the middle of the first act, when Beau finds himself stuck – hoping that Maisy will return to him but also unsure if he should forgive her for leaving him in the first place. Odmark’s vibrato soared in this performance, but the grounded, emotional energy he infused into the number truly pushed it over the top.

Directed by Jack O’Brien, Shucked is a classic romantic comedy – with all of the ups and downs that come with it. Romance fans in the audience are sure to find themselves looking away as the central heroes make silly choices and leaning in when they see them get increasingly closer to solidifying the happy ending of which they always dreamed. The script itself is witty, filled with dark, comedic jokes that keep you on your toes as you watch the events unfold. A good portion of the comedy comes from the two narrators at the center – Storyteller 1 (Maya Lagerstam) and Storyteller 2 (Tyler Joseph Ellis). Both performers showcase top-notch comedic timing and judging by the uproars of laughter surrounding me at this performance, I was not the only one who felt this way.

Full of laughter and infectious joy, Shucked is the perfect show for the family as Chicago slides into the colder months.

HIGHLY RECOMMENDED

Shucked runs through January 19, 2025 at the CIBC Theatre – 18 W Monroe Street. See the Broadway in Chicago website for further information regarding tickets.

My companion was apprehensive about the press release’s statement that “… the two-person cast will play all characters and will even share certain characters.”  “How can that work?” she wondered. “How will we know which character is speaking?”

I told her, “Wait and see.”  I had no such doubts; I’ve seen several shows at Open Space Arts and been consistently impressed at how well the company overcomes its multiple challenges, not the least of which is its extremely small space, further circumscribed by the 6-inch diameter pipe running floor to ceiling in the center of the stage space. It requires a nimble and imaginative company to not simply overcome this hindrance, but actually incorporate it into the action.

Eliana Deckner-Glick as Andrea (et al) and Artem Kreimer as her grandfather Max (and others) flowed seamlessly through their multiple roles; at times even switching to Kreimer playing Andrea and Deckner-Glick as Max. But no matter how quickly and how completely they fluctuated, at no point was I ever in doubt as to ‘who’ was speaking.

How on earth did they do it?

First, of course, is via the actors’ skill. Their vocal repertories were only one aspect of their transformations: posture, gait, facial expression, even temperament were all faithfully conveyed as Deckner-Glick modified Andrea to a clerk, and Kreimer transitioned from Max to a librarian and … and and and! It was uncanny how realistic the conversions were, especially as the evolution was usually made in mere seconds. Brava/o!

But even the most sensational acting could not have passed muster without the masterful direction of Izadorius Tortuga. I was stunned to learn that THE BERLIN DIARIES was Tortuga’s Chicago directing debut! The four years at Carnegie Mellon earning his BFA were clearly very well spent. The blocking and staging alone was ingenious as, in collaboration with Stage Manager Sean Smyth, magic was made in that meagre space.

Scenic Designer Viscaya Wilson supported the show’s authenticity by creating a plausible and effective space that generated copious domains, from Andrea’s NYC apartment to the snowy streets of Berlin. I loved the family tree that covered one wall, linked to maps of various destinations in South America, Europe and Palestine, as well as New York City and, of course, Berlin. These features came alive with Gabe Seplow’s Lighting and Valerio Gardner’s Sound.

Andrea Stolowitz is an internationally produced playwright, known for her unflinching approach to difficult issues in service of deepening social understanding. Her work is often heartbreaking, and THE BERLIN DIARIES certainly falls into that category.  The play is autobiographical, triggered by Stolowitz reading the diary her great-grandfather kept while living as a Jew in Berlin during the rise of Hitler and the beginning of World War II. The entries were specifically intended for and addressed to his descendants, often beginning with phrases like “My beloveds ….” Excerpts read throughout the play artfully served to encompass and embrace the audience, drawing us into Andrea’s clan.

Andrea’s parents told her that all members of their family had escaped the Holocaust, but in the diary her family’s genealogy becomes more mysterious the deeper she digs, raising far more questions than it answers. Frustrated yet fascinated, Andrea recognizes that these unanswered questions may reveal a far more significant history than the kindly, comfortable accounts that have become family legend. Andrea travels to Berlin seeking clarification and is increasingly troubled as her research adds one name after another to the list of ancestors who were verschollen: lost, like a library book.

I really haven’t committed too many spoilers here; this is the bare outline of THE BERLIN DIARIES, and when you see the play – and I HIGHLY RECOMMEND! You do – you’ll be as awestruck as I was for the grim experiences and searing disclosures Andrea is led to by her great-grandfather’s diaries.

THE BERLIN DIARIES plays at Open Space Arts through January 5

HIGHLY RECOMMENDED!!

Unlike many of the shows I review, which I’ve often seen in other productions elsewhere, I went into Music Theater Works’ current production of Legally Blonde blind. Other than the couple-decades-old movie the musical is based on, along with a covid-era TikTok fascination that my daughters had with a particular song from the show, I knew nothing about it. That’s always kind of refreshing, isn’t it?

Well, I went into the North Shore Center—always an enjoyable place to see a show—pretty much clueless and I left entertained.

You can tell director Mandy Modic has a real knowledge of, and love of, the source material and the show. Everything is thoughtfully laid out and beautifully executed. This is a put together show, just like the main character, Elle Woods.

Kayla Shipman, starring as Elle, has high heels to fill but she fills them well. As Elle grows and learns about herself, Shipman’s performance becomes more confident and assertive as the show progresses, making this the Y2K roman a clef the story calls for. The supporting cast sings, dances, and acts as Elle takes her journey—filling the show with the memorable people she meets. Korey White looms over proceedings as authoritative and suspect Professor Callahan. Amanda Handegan’s fitness-queen-turned-accused-murderess Brooke Wyndam brings us back to the days of the aerobics DVDs she’s shilling—before launching the show’s uproarious second act with an orange-is-the-new-black prison jump rope number. And Khaki Pixley’s hairdresser Paulette Buonofonte takes us to a whole other world every time we enter her salon, a realer world far from snooty tweed higher education or Greek life.

Each of the worlds we enter in this show are beautifully created by Scenic Director Shane Cinal. From Elle’s sorority house to the hallowed halls of Harvard to Paulette’s beauty parlor, each set pops visually and transports the audience.

But, like many good shows, it’s the ensemble that makes this one. Each and every member of this cast gives it their all. From sorority sister singalongs to a Greek chorus, from folks getting perms to a courtroom full of plot twists, the ensemble created each scene and populated it with movement, humor, talented vocals, and humanity. And each member received their moment to make the audience hoot and holler—with Isaiah Engram’s deliveryman Kyle getting the most hoots.

The movement of the show is thanks to the ensemble’s talent, but also features wonderful choreography by Mollyanne Nunn—she puts all of this talent to work in dance after dance and showtune after showtune, filling the stage and catching our eyes from every part of it.

Oh, and that TikTok song I mentioned before? That’s here, too. Morgan Schoenecker leads Elle and the ensemble through the “Bend and Snap,” and the number hasn’t lost any of its charm—for the audience or for the aforementioned daughter who was watching Legally Blonde with me.

Like other shows I’ve seen at Skokie’s North Shore Center, this was a thoroughly enjoyable production. Music Theater Works and Mandy Modic take their audience back two decades to tell us a timeless tale, one you’ll find in Legally Blonde, playing now until December 29.

I fondly recall watching the 1964 children’s television special Rudolph the Red-Nosed Reindeer each year with great wonder! Its message of hope—that you can be yourself and different from the herd—left a lasting impression. The idea that, through perseverance, you can be loved and appreciated for your unique talents is as relevant today as ever. This timeless lesson is humorously celebrated in Hell in a Handbag Production’s 25th anniversary edition of Rudolph, the Red-Hosed Reindeer.

Written by Handbag Artistic Director David Cerda, directed by Anthony Whitaker with musical direction by Chad Gearing, this year's production of Rudolph the Red-Hosed Reindeer (An Unauthorized Musical Parody) is as significant as ever. It’s a delightful experience and provides so many much-needed laughs, particularly during these dark winter months following the election. I always enjoy David Cerda’s brilliant sense of humor whether writing, acting or both - and his fabulous camp costumes. This time, David is dressed head to stiletto-heeled toe in luscious candy apple red, parodying one of the 'Reindeer Housewives of the North Pole,' and it's fantastic.

The Handbag satire remains faithful to the storyline and characters of Rudolph the Red-Nosed Reindeer, but with a distinctive Handbag twist. In this version of the Christmas classic, Rudolph, a young reindeer at the North Pole, stands out not because of a shiny, glowing red nose, but for his love of wearing red-hosed stockings. His 'unusual' clothing choice often makes him the target of teasing and exclusion by his fellow reindeer. In his quest for acceptance, Rudolph runs away and, thanks to friends he meets along the way, like Herbie the elf who wants to be a dentist and Yukon Cornelia the gold miner, our red-hosed wearing reindeer learns that it's okay to be different and to love yourself for who you are. Rudolph’s story highlights themes of acceptance, determination, and celebrating individuality. 

(left to right) Kelly Bolton, Caitlin Jackson and Peter Ruger in Hell in a Handbag Productions’ production of ‘Rudolph the Red-Hosed Reindeer (An Unauthorized Musical Parody).’

This show features hysterical spins on all the well-known Rudolph characters, brought to life by many beloved Handbag favorites. Caitlin Jackson, whom I’ll always adore for her fantastic portrayal of Bette Midler in Handbag’s Bette: Live at the Continental Baths, plays Mrs. Claus, the oft-drunken, lonely wife of the narcissistic and sex-addicted Santa Claus - and she steals every scene she's in! Jackson’s outstanding singing voice, paired with her sharp wit, generates continuous laughter throughout this hilarious production. While Jackson excels as Mrs. Claus, Michael Hampton delivers an uproariously funny performance in Handbag’s amusing spoof of Santa Claus.

Handbag fave, Sydney Genco, who plays Elfina and also doubles as Choo Choo, the misfit square-wheeled train, is funny and adorable as always, showcasing her terrific singing voice. Genco also took on the role of make-up designer for this production, contributing to the fantastic visual elements of the show.

The show is brimming with fantastic performances, so I'll continue to heap on the praise. Longtime Hell in a Handbag member Terry McCarthy is the ideal comedic counterpart to Cerda, portraying another of the influential, spoiled reindeer wives of the North Pole. Their characters are suspicious of poor Rudolph, clad in lacy red underwear, who is quite a departure from the macho bucks that usually pull Santa's sleigh. Lori Lee shines as Yukon Cornelia, the slightly confused gold miner, in this production. A very talented comedienne and singer, and a Hell in a Handbag member, Lee is a delight in her role. With the help of the fearsome Drag Beast (well played by Mark Bartishell), Cornelia finally realizes she is gay, a hunch that every other character in the play had all along! Kelly Bolton glows as the quirky elf Herbie, who dreams of being a dentist rather than a toymaker. Bolton perfectly captures the character, eliciting plenty of laughs from the enthusiastic opening night audience.

Indeed, the praise for this show is boundless… While Peter Ruger enchants as our hero, Rudolph, with charm and flair, yet another standout performance comes from Matt Sergot, who brilliantly embodies Sam the Snowman in this delightful musical. As the show's narrator, Sergot sets up each scene with perfect whimsy, adding a charming touch to the entire production. Rudolph the Red-Hosed Reindeer also benefits from the talents of ensemble performers Eustace Allen, Cameron Cai, Micah Mixon, TJ O’Brien, Shawn Quinlan, Michael Radford, and Whitney Willard Wilkinson, who impresses in her role as Clarice.

Special kudos also go out to costume designer Marquecia Jordan for doing a splendid job bringing Herbie, Yukon Cornelia, Sam the Snowman, and our other Rudolph favorites to life. The entire production team crushes it in this one.

Each year's production of Rudolph consistently features a great deal of updated humor. Some jokes are bawdy, but all are undeniably funny, touching, and heartfelt – and that is the magic that is Hell in a Handbag. Alongside the humor also comes valuable life lessons—in this case, the importance of being true to yourself and accepting others for doing the same.

One thing I can always count on when bringing friends to a Hell in a Handbag production, especially this Christmas-themed show, is that we'll have a great laugh, hear fun songs, enjoy a couple of drinks during the generous intermission, and leave feeling like part of the uniquely wonderful straight and LGBTQ family celebrating right here in Chicago.

If you need a laugh and to unwind during the holiday season, then be sure to attend Rudolph the Red-Hosed Reindeer through January 5^th. And please take special note of the show's benefit weekend, from Friday, December 20th through Sunday, December 22nd. During this time, you can enjoy this fantastic camp parody holiday-themed show, knowing that the proceeds will go directly to support the food needs of Chicagoans living with AIDS.

Hell in a Handbag’s Rudolph the Red-Hosed Reindeer and Unauthorized Musical Parody is being performed at Hoover Leppen Theatre at Center on Halsted through January 5^th. For tickets and/or more show information click HERE.  

Upon entering the beautifully decorated lobby of Teatro Zinzanni theater on the 14th floor of the Cambria Hotel, you are instantly transported to an exquisite, romantic art deco speakeasy. The theater itself is housed under a stunning 100-year-old Belgian Spiegeltent, featuring booth and chair seating in the round. A delightful five-piece live band plays throughout the show, keeping the lively supper club atmosphere buzzing.

Before diving into the show itself, I must mention how much I enjoyed the four-course meal served with our theater tickets. The menu changes seasonally, and the food quality was excellent. The timing of each course's arrival with the show was impeccable. During the 2.5 hour performance, just as I thought, 'This is a fun show—I could use a little nosh,' one of the performers would announce the next course, accompanied by an adorable song and dance number. The waiters and waitresses, dressed in themed attire, would then serve everyone while the entertainment continued in the background. All staff members, including waiters and waitresses, actively participate in the show, dancing in the aisles and making each dinner course a production in itself.

Cuino as Mr. ZinZanni and LiV Warfield.

Teatro ZinZanni Chicago provides a unique and magical entertainment experience. The show blends cirque, comedy, cabaret, spectacle, and live music, all while guests savor a multi-course gourmet meal. Performances include acrobatics, dance, and interactive elements, creating an immersive and unforgettable evening. Like the menu, the performers and acts also change from season to season so a new show is always around the corner. The night I attended, I was super impressed with the talents of the main stage performers.

The circus show is hosted by ringmaster Mr. Zinzanni, portrayed by Cunio. As a former Post Modern Jukebox star, Cunio brings incredible vocal range and an abundance of attitude and pizzazz. While Cunio shines in several numbers, his pairings with Soul Train Award Winner LiV Warfield are truly out of this world.

Comedian Kevin Kent is hysterical and masterful at eliciting warm-hearted laughs from the crowd. As 'Doily,' one of the show's comedic hosts, Kent makes the rounds before and during the performance, so arriving early is a must to enjoy his continuous humor. For instance, I was wearing a pink velvet blouse, and 'Doily' came over and said, 'I love your pressed velvet outfit… Hopefully your velvet will get pressed later!'

Dancer and hula hoop artist Vita Radionova astonishes as she moves from two hula hoops to twenty, creating a towering 'slinky' effect under the stunning lighting of the antique tent. Vita is not only an exceptional solo dancer but also shines in comedic roles throughout the show, including playing a flight attendant in training. At one point, she transitions from her airline costume to a dazzling, sparkling red dance outfit, captivating the audience with her remarkable dance and acrobatic skills. Radionova’s infectious sense of humor adds a delightful, light-hearted touch to the entire performance.

Vita Radionova

Samuel Sion and Sylvia Friedman, known as Duo Rose, were another highlight of the variety show. Their sensuous duet, performed high in the air, was wonderfully romantic and elicited gasps of delight from the audience. Raphael Nepomuceno also captivated from the heights with a magnificent display of balance and strength.

Almost every act felt like a favorite, and that's truly the case. Contortionist Elayne Kramer wowed the crowd with her masterful hand-balancing and feats that seemed impossible. Her finale, hitting a target with a bow and arrow using her feet while balancing upside down, was one of the evening's biggest stunners.

The band, led by pianist Theodis Rodgers, Jr., commands attention. Conducted by Linda Madonia, the ensemble features Phil Seed on guitar, Jon Negus on woodwinds and keyboard, Jose D. Martinez on drums and percussion, and Dave Bistrow on bass guitar.

During the show, between acts, many of the main performers go from table to table with comedy routines and, in some cases, magic tricks, creating a genuine element of audience participation. There are also numerous photo opportunities throughout the beautifully decorated theater. Teatro ZinZanni's Love, Chaos and Dinner is perfect for date night, a fun evening with friends, or a treat for larger groups. Honestly, we were laughing from the moment we were seated, soaking up the ambient atmosphere from the beginning to the very end of the show.

Kevin Kent as "Doily"

For those wanting to be part of the show, sitting in the center ring is a must. However, the booth seating in the outer circle offers a fantastic vantage point and exceptional comfort. It was a delight to sit back and take in everything from our cozy, lush booth, while still being individually entertained by the various performers who circulated throughout the theater.

Fantastic! No matter who is performing the night you attend or what is on the menu, you can be sure that the food will be delicious and the performers top-notch. Teatro ZinZanni is absolutely worth the price of admission.

I also suggest going with the full dinner package rather than show only tickets because it is a rare experience to have a cirque-style dinner theater where both the dinner and entertainment is of such high quality. Parking is easy and just a short 3-minute walk to the elevator where you will be greeted and directed to your seats by friendly and funny costumed attendants.  

Teatro ZinZanni began in Seattle in 1998 and was later opened in San Francisco receiving rave reviews along the way. The show has been in Chicago since 2019 and should be considered an absolute staple of Chicago entertainment. One of the most unique and entertaining ways to spend an evening, this show has something for everyone.

I highly recommend this delightful, romantic and humorous variety production for audiences of all ages.

Teatro ZinZanni Love Chaos and Dinner is being performed atop The Cambia Hotel at 32 W Randolph St., Chicago through February 16^th thanks to the show’s extension due to popular demand. For tickets and/or more show information, click HERE.

Just as there are many Santa’s around town, this time of year we have a wide selection of Christmas and Holiday-themed shows on stage. While I’ve grown quite jaded about the diminishment of “real” theater during the holidays—steadfastly avoiding the Goodman show each year—there was something that overcame my reluctance in the concept of “Charles Dickens Begrudgingly Performs ‘A Christmas Carol’ Again.”

The darkly charming premise is tantalizing: that Dickens is still alive, and has for 171 consecutive years been annually performing his stage reading of a version of his 19th century book “A Christmas Carol." In fact, as we learn in the course of the show, Dickens did read an adaptation of his book onstage for years. This piece, however, is a remarkably artful riff on Dickens' original, written and performed stunningly well by Blake Montgomery.

This is an actor with chops, a Jefferson Award winner seen over the years on stages at Steppenwolf, Writers and Court Theaters. About 10 years ago Montgomery developed this show, and has given himself a script that is a great showcase of his skills. Walking among the audience before curtain, dispensing candy canes and wearing ridiculous holiday antlers, Montgomery gradually shifts into the Dickensian story.

Speaking candidly of the character of contemporary Christmas Carol shows, including the “large well-known theater downtown” where “snow falls on stage, and Christmas ghosts literally fly,” Montgomery adds dryly. “All I can do is talk.” And with that, Montgomery shifts gradually into the character of Dickens, holding the audience in the palm of his hand.

But Montgomery is also present, all the while, playing moderator. After spending some time somewhat disabusing us of our preconceived notions of what Dickens’ “Christmas Carol” holds, he deconstructs the story, then disarms us, and we are open to hear the story anew. The more opulent productions risk masking the human tale embodied in Dickens’ work. Montgomery reveals more of the internal workings of Scrooge. At times, he allows Dickens to read directly from the text. In other moments Montgomery re-enacts scenes holding up two sides of a dialog. He asks us to examine Scrooge's transformation during the ghostly visits. In one dream-like celebratory Christmas party scene that Scrooge visits in company of a ghost, Montgomery tells us, "The activity is dancing; the action is about what is happening within Scrooge."

In all it’s a remarkable reenvisioning of “A Christmas Carol,” and a work and performance not to be missed this season. “Charles Dickens Begrudgingly Performs ‘A Christmas Carol’ Again” runs through December 22, 2024 at The Den Theatre in Chicago.

[Reviewer’s Note: I’ve been reading a book whose main character is inveigled by Word of the Day; hence, I’ve striven to include as many unconventional and indecipherable words as possible. You’re welcome.]

This is the seventh year of the JINKX AND DELA HOLIDAY SHOW, composed each year by BenDeLaCreme and Jinkx Monsoon as a new, original production. DeLa is also the Director, Producer, Costume Designer (and most likely a whole bunch of other stuff) and she does it all in 4-inch heels!  Move over, Ginger Rogers.

Rivalling DeLa for multifaceted, multidisciplinary, multipurpose, and otherwise multiscious effectuality is Gus Lanza, who is backstage manager and merchandise mover-and-shaker, as well as moving and shaking onstage as Hunky the Elf. Last night poor Hunky had a bad cold and sneezed on everyone, but that never vilipended or misprized his sprightly performance. Working with him was a whole stockingful of elves: Chloe Albin, Mr. Babygirl, Jace Gonzalez, Ruby Mimosa, Derrick Paris, and Scott Spraags. The costumes were fabulous; no surprise, as they were designed by BenDeLaCreme, Mr. Gorgeous, and Nova Dobrev; assisting in their creation were Paris Original, Jamie Von Stratton and The Lady Hyde.

The first act was enlivened by a rousing rodeo around Beyonce’s “Texas Hold’em”, and the wonderful song “Secular” – a parody of Wicked’s “Popular” – expressing disgruntlement at all the religiosity circumfusing what should be just a party!

Each year the overall theme of the JINKX AND DELA HOLIDAY SHOW is that Jinkx and DeLa are coming together to put on a holiday show (logical, n’est ce pas?). And every year, that simple premise is blunged with some beloved holiday classic. This year the classic was Nutcracker, and the story developed from Jinkx finding a nutcracker in her Holiday Box to dancing and singing (and ….!) with the Nutcracker himself, whose outsize head (created by Erik Andor) had wonderful googly eyes. His other parts were wood which, as Jinkx found out, never goes soft! though splinters are a hazard.

Jinkx and DeLa shrink (a little bit of Alice in Wonderland thrown in there) and become tree ornaments until they fall off the tree and their clothes fall away, leaving them naked (no problem, they both have terrific tits!). This evolves into Jinkx being kidnapped by the Nutcracker, and for the remainder of the show they go through all sorts of contortions, trying to reunite.

Hunky the Elf always provided a marvelous interpolation, and Country Dancing Santa was a super supplement (even though his batteries kept wearing down), all of them eager to sing and dance with Jinkx and DeLa. I was particularly fond of Clayby (Clay Baby) Jesus.

The final song in the JINKX AND DELA HOLIDAY SHOW is traditionally an anti-holiday anthem, and this year was no exception: Everybody’s Traumatized by Christmas struck home with virtually every gay, lesbian, bisexual, trans, and otherwise queer in the audience (and quite possibly in the cast as well!).

The bad news is that the JINKX AND DELA HOLIDAY SHOW comes but once a year to Chicago (and more than 30 other cities!). But forewarned is forearmed. Now you know to watch for its reappearance on the Auditorium Theatre’s playlist next December … assuming, of course, the incoming administration doesn’t put an embargo on Drag Queen Festivities. They’d probably be wise to do so, as the show would be quite effective in waylaying innocent little boys with the joys of rhinestones even before their school operates on them.

Created & Written by BenDeLaCreme & Jinkx Monsoon

Director BenDeLaCreme

Choreographer Chloe Albin

Movement Direction BenDeLaCreme

Original Compositions Major Scales

Lyrics BenDeLaCreme, Jinkx Monsoon, & Major Scales

Music Production Markaholic & Keith Harrison

Starring BenDeLaCreme & Jinkx Monsoon

with Chloe Albin, Mr. Babygirl, Jace Gonzalez, Ruby Mimosa, Derrick Paris, Scott Spraags, and Gus Lanza as “Hunky the Elf”

Like a lot of people, Louisa May Alcott’s Little Women has been mostly a cultural curiosity for much of my life. I know it’s perennially referenced when talking about women and their struggle to achieve personal agency and autonomy. Since it was published in 1868, shortly after the Civil War, Alcott’s quasi-autobiographical novel about a close knit family with its quartet of sisters has never gone out of print.  It’s been adapted to stage dozens of times, turned into an opera and Hollywood seems to have made a habit of rediscovering it and presenting a new interpretation of this undisputed American classic every generation or so.  Most recently, Greta Gerwig’s 2019 film version of Little Women drew a deluge of praise for the way it reimagined Alcott’s novel for a new era. Still, since it wasn’t required reading in my downstate high school, I never quite understood the magnitude of the story’s import until the other night at a world premiere.  Northlight Theatre, together with three other prominent regional theaters across the country, commissioned one of the nation’s most prolific and produced playwright’s, Lauren Gunderson, to develop her own vision of Alcott’s signature creation. Gunderson’s adaptation, now premiering in Skokie before making its way across the country to the other sponsoring companies, has made the blind me see. 

Over her career, the San Francisco playwright has developed a reputation for many laudable abilities. Chief among them is the way she can tap into the essence of her characters and turn them into people we easily recognize, empathize with or see startling resemblances to ourselves. She’s also a brilliant architect who can construct a story framework that’s as sturdy as a fortress, is wonderfully meticulous in its detailing and is usually flawless in plot continuity. Those attributes and more run rampant in this production. Joined by an elite creative team, Gunderson turns a 150-year-old classic into an unexpected revelation whose positive messages extolling character, resilience and determination shine with freshly burnished clarity.  

A progressive family whose parents fostered the pursuit of any interest their daughters found stimulating, the March’s in Little Women is a mirror image of Alcott’s own family. The four sisters were all modeled after the author and her three sisters. The second oldest, Louisa, or Lou as she was known to family and friends, was the driven one. Independent, ambitious and literally gifted, she chafed at the constraints imposed on women in the 19th century; just as women today are dismayed about similar career and societal constraints present in the 21st. 

That Little Women’s Jo is in fact Alcott’s fictional self has long been well established. But aspects in this account go further to draw attention to the similarities between the real and imagined person. In this iteration, the author and her alter ego become so enmeshed that the actor playing lead, Tyler Meredith, occasionally slips into portraying Alcott in addition to Jo March. Dressed in trousers that resemble pantaloons under her period dress, her attire becomes one more feature that distinguishes her. Playing Jo with forceful confidence, Meredith fills her character with an unshakable will that’s fed by the encouragement of her family.  She writes spirited plays that she and her sisters enact.  And the responses she gets from her writing submissions tell her the aspiration of becoming a self-sustaining writer is conceivably within her grasp.

While we’re admiring her tenacity and preternatural intelligence, we also take in the rest of the family and marvel at how quickly and distinctly their own personalities emerge.  Her older sister Meg (Janyce Caraballo); traditional, beautiful and pragmatic, is a stabilizing figure in the family modeled after their mother, Marmee (Lucy Carapetyan), the family’s true anchor and moral touchstone. Quiet and reserved, Beth (Demetra Dee), just below Jo in age, is musical and plays piano. Her profile rises in this effort to the point we have a much stronger understanding of how pivotal her place in this family is.  When she contracts scarlet fever after caring for an ill infant, the slow demise she endures gives us time to see how essential her presence is to the family. Dee is demurely marvelous in a role that highlights how diverse families can be within themselves and how that diversity is a secret strength.

The youngest sister, Amy, played with all the petulant entitlement of the baby in the family by Yourtana Sulaiman, is only slightly spoiled and enjoys painting. Her real-life counterpart went on to become an accomplished and recognized painter.  

Alcott would live out her life just as she imagined and hoped, unmarried and successful in her craft. Neither her publishers nor her public wanted the first of those two things for Jo, however. The friendship she strikes up with the parentless boy across the street who’s living with his rich grandfather seems as if it might lead to romance. Immediately infatuated by his spunky neighbor, Laurie (John Drea) can’t, and doesn’t want to hide his attraction to this dynamic young girl with the invincible spirit.  They both exude so much energy and potential on stage that their power seemed to pulse through the theater. Add to that the purity of Laurie’s guilelessness as he tries to make his friend more than a friend, and you’re virtually convinced this intrigue will lead to the altar. Jo’s too committed to her dream to jeopardize it with marriage. Especially since she doesn’t love her friend in the same way he does her.  Watching their friendship take flight, mature and endure after Jo rejects him for a final time; causing him to go on to marry one of her sisters, is a masterclass in how to live. Only exceptional writing and equally adept directing could present it with such compassionate coherence. Along with the playwright, Georgette Verdin as director strives to bring the fullness of what Alcott achieved in Little Women to the fore. There are countless lessons on the potency of familial love and the capacities of the human spirit to prevail despite discouraging odds. Bracketing the effort with novel approaches in directing and generous splashes of humor made this project as exciting and entertaining as it was enlightening. Placing it in the hands of such able and gifted actors simply added to its appeal. Watching Erik Hellman’s inspired transformation from Laurie’s self-effacing tutor to the German professor Jo meets in New York and eventually marries was a particular delight. It was also emblematic of the fine acting that filled this delightful experience.

Louisa May Alcott's Little Women

Through January 5, 2025

Venue: Northlight Theatre at Northshore Center for The Performing Arts

9501 Skokie Blvd. Skokie, IL  60077

https://northlight.org/series/little-women/

There is something magical about Chicago at Christmastime. Even if there is no snow on the ground, there is an energy in the atmosphere, peaceful and whimsical. Whether you take in the colorful zoo lights at The Lincoln Park Zoo, or stroll the Christkindl markets downtown, or ice skate in the shadow of Wrigley Field, there is magical nestled in every corner of the city. December winds bring a chill to The Windy City and signals the arrival of the holiday season with lights, cozy fires, warm drinks, and the most cherished of holiday traditions, The Joffrey Ballet’s The Nutcracker, now playing at the Lyric Opera.

For those who are unfamiliar with The Nutcracker, the fairy-tail-like ballet follows the story of a young girl named Clara who receives a nutcracker doll on Christmas Eve from a magical guest at the party. Clara's reality and dreams merge as she and her nutcracker embark on a magical adventure. The nutcracker transforms into a prince, and Clara and the prince travel to the Land of Sweets, where they meet the Sugarplum Fairy.

Joffrey’s Nutcracker follows a similar storyline with a magical Chicago twist. On a magical Christmas Eve, mere months before the opening of Chicago’s 1893 World’s Fair, Marie and her mother, a sculptress creating the fair’s iconic Statue of the Republic, partake in a festive celebration with a surprise visit from the mysterious Great Impresario. That evening, after awakening to an epic battle between Toy Soldiers and The Rat King, Marie is swept away by a Nutcracker Prince on a whirlwind journey to the dreamlike fairgrounds of the World’s Columbian Exposition with sprawling attractions represented by countries from around the globe. Set to Tchaikovsky’s classic score, The Nutcracker features a celebrated creative team, including two-time Tony Award®-winning choreographer Christopher Wheeldon, Tony Award®-nominated set and costume designer Julian Crouch, Caldecott Medal Award-winning author Brian Selznick, Obie and Drama Desk award-winning puppeteer Basil Twist, Tony Award®-winning lighting designer Natasha Katz and Tony Award®-winning projection designer Ben Pearcy. 

I have been seeing The Nutcracker every holiday season, moving from dancing in the ballet and watching in the wings, to the balcony seats to enjoy the performance. There is nothing quite like The Joffrey’s rendition of the classic ballet. The Chicago World’s Fair of 1893 storyline works incredibly well with the production, from the humble beginnings of fair workers and their families, a kind and wealthy benefactor bequeathing the nutcracker doll, and a dreamlike world with Clara exploring the World’s Fair and all it had to offer. The 1893 World’s Fair inspired Frank E. Baum, utilizing the famed White City of the fair to inspire the Emerald City of Oz in The Wizard of Oz. The fair introduced the world to the Ferris Wheel, brownies, cracker jack popcorn, and the zipper. There were countries and states represented that visitors could only dream to have visited, right in their own backyard. Historical documents and first-hand accounts mention how magical and awe-inspiring the fair was, it’s easy to see how The Joffrey could look at the fair as a backdrop to The Nutcracker and see magic.

But even with the artistic direction The Joffrey took, it still begs the question of why do we see the same performance year after year after year? Artistic Director Ashley Wheater, MBE pondered the same thing. “I have asked myself, ‘How can we make this a special experience for people who have seen the Nutcracker before and for those attending for the first time?’,” says Wheater. “Part of the beauty of this Nutcracker: it is a Chicago story! We set the scene during an important time in the history of our city: the World’s Columbian Exposition of 1892. We identify with the working spirit of the people. We understand that joy can be found in simple things. We appreciate that magic is all around us, if only we look. The real “magic” of this Nutcracker, though, is that it changes every time we watch it. Each of us in the audience is different. We have loved, lost, struggled, succeeded, grown. We bring our own story to the theater. The beauty of live theater is that no two performances will be the same.”

The year’s opening night of The Nutcracker was nothing short of magical. Joffrey’s current company has to be one of their best in years with outstanding principles including Amanda Assucena, the mother and sculptress for the Fair (the Sugar Plum Fairy) and Alberto Velazquez, the Great Impresario of the Fair, and the darling Anabelle de la Nuez as Marie (Clara) and Maxwell Dawe as The Nutcracker. Each scene is a feast for the eyes with the entire company dancing exquisitely amount wreaths, glittering snow, and before giant Ferris wheels. Whether this is your first time seeing The Nutcracker, or your hundredth, there is nothing in the world like Joffrey’s Nutcracker. It is truly one of a kind and the perfect addition to any holiday plans. But much like The World’s Fair of 1893, the magic won’t be here forever, so don’t delay and get your tickets today.

The Nutcracker is now playing at The Lyric Opera House, (20 North Wacker Drive, Chicago) through December 28^th. The Performance run time is 2 hours, includes one 20-minute intermission. Tickets are available at www.joffrey.org.