Items filtered by date: November 2007

Shattered Globe did its dramaturgy research very well, in bringing us the Chicago premiere of “Flood,” Mashuq Mushtaq Deen’s very funny, very fresh and highly relevant script. And boy does he have a gift for dialog. It is good, complex, and funny, and charged with barrels of meaning below that surface. “Flood” reminded me for all the world of Harold Pinter or Caryl Churchill's ominous, absurdist theater works, with a quality that is very much in a league with these revered masters.

Though Deen says he eschews television, and writes for the stage, “Flood” opens with a vintage musical fanfare drawn right out of 1960s television programs.
As the lights come up we see a living room setting in classic mid century modern style - very nicely done by Lauren Nichols, set design - with late middle-aged Darren (H.B. Ward), pudgy and rotund, at his work table, wearing safety glasses and a strange mask as he assembles a wood craft project. Each piece is selected and put in place with elaborate arm flourishes, letting us know Darren is at work on an effort of the utmost importance.

His wife Edith (Linda Reiter) enters stage left, bearing a teapot, and standing silently many minutes, lest, we suspect, she break Darren's concentration. The dramatic tension delivered in this silent scene is considerable. Reiter and Ward deliver consummate performances that are the essence of what skillful acting is all about.

Eventually Edith withdraws, returning sometime later, again with a teapot. This time Daren notices her, and a conversation ensues, both innocent and frought. It sounds like any couple jousting: Darren accuses Edith of hiding from him, which she denies, noting that she is manifestly available, but that he just doesn’t notice her.

In the conversation, playwright Deen gradually increases the underlying tension in the scene, and their lives overall come into stark relief. We learn that they plan to share tea together, which Edith ardently wishes for, but Darren (H.B. Ward) says this can only happen in the future, when he finishes the great work in which he is involved at the table.

At this moment, the conversation has leapt into another dimension, as Edith queries when he will be finished.
“Add that to the book of unanswerable questions,” Darren says.
To which Edith replies, “You like me because I ask you unanswerable questions.”

Edith's pressure for Darren to finish and share tea with her elicits a vague indication from her husband that it will be “in the future.” Darren asks, “Would you deny me my dreams?” to which Edith asks, profoundly, “When will the future come?”

We eventually hear a discussion of the sex “in a parking lot” that led to their children, and later, we meet these children: Darren Junior (Carl Collins) and Edith Junior (Sarah Patin) who speak to their parents from their apartment by phone. The generational divide is expressed here, with trenchant relevance: the children are complaining of their suffering from the effects of the environmental crisis (flooding), while their parents live in a dream loop of denial, Edith all the while encouraging her offspring to look on the bright side of things. It's a conversation for the ages, and of the moment being replayed across America continuously.

“Flood” is both humorous, and a remarkable snapshot of intergenerational dynamics. And the play is mysterious as well. An intensely engaging 90 minutes perfectly cast and directed by Kenneth Prestininzi, who directed the world premiere in Kansas City as well. "Flood" runs through March 9 at Theater Wit, 1229 W. Belmont Ave. in Chicago.  

From the sunny shores of St. Thomas to the gritty streets of New York, from the violent brutality of the boxing ring to the raucous gay bar scene in the mid-1960s, Lyric Opera’s Champion is a sweeping saga of one man’s search for redemption and his true sexual identity. With music composed by Grammy Award-winner Terence Blanchard and libretto by Tony Award-winning Michael Cristofer, Champion is an emotional tour de force that draws the audience in from the opening curtain to its final notes.

At the center of this true story is Emile Griffith, a professional boxer whose fatal punch in the boxing ring in 1962 after being taunted for his sexuality by his rival, has haunted him throughout his life. Emile’s story unfolds through a series of flashbacks, from his abusive upbringing in St. Thomas after his mother abandoned her eight children, to being pushed into boxing ring on the basis of his strength and physique, to coming to terms with his own sexuality as a gay man.

Emile’s character is brilliantly portrayed by three different singers. Reginald Smith Jr., a Grammy- and Emmy-winning baritone, portrays the aging Emile with a vulnerability and pathos as he searches for forgiveness and peace. The younger Emile is played by Justin Austin, a rising star and a 2023 Marian Anderson Vocal Award winner, whose heartfelt portrayal brings to life Emile’s struggle to discover what it means to be a man. And finally, Naya James, a sixth grader at Highland Elementary School in Downers Grove, rises to the occasion in his portrayal of the young Emile, who is abused by his strict religious aunt. In one particularly moving moment, all three appear on stage as the aging Emile prays for strength.

Sharing the stage with Emile is an impressive ensemble, many of whom are drawn from Lyric’s acclaimed artist-development program. Soprano Whitney Morrison shines in her role as Emile’s estranged mother, Emelda Griffith. In one of the lighter moments, when Emile reunites with his mother on the streets of New York, his mother confuses him for his brother, Frankie. She sings to Frankie to give mommie a kiss, but when Emile tells her he’s not Frankie, she responds, “Well, who the hell are you?” And then, without skipping a beat as Emile tells her who he is, she immediately serenades him with the same song. As Emelda sings to Emile, “I may not be the mommie you want, but I am the mommie you got.”

Billed as “an opera in jazz,” composer Terence Blanchard brings his storied jazz career, which has earned him seven Grammy awards and two Oscar nominations, to the score. The musical score ranges from soaring operatic arias with full orchestration to the jazzy, bluesy beat of New Orleans enhanced by a jazz combo embedded in the orchestra. In one particularly poignant moment, mother Emelda sings about her efforts to survive and escape her life of poverty, accompanied only by the haunting beat of the bass. It is a show-stopping moment.

The ensemble, which joins the stage in key moments, such as when as Emile leaves St. Thomas, as he searches for comfort in the gay bar scene, as he trains for his boxing matches, brings an energy and vibrancy to the production and an escape from the heaviness of Emile’s struggle. The story is moved along by the ring announcer/narrator, wonderfully played by the legendary Chicago actor Larry Yando in his Lyric debut. Towering floor-to-ceiling video screens that flank the action on stage also help move the narrative along with black-and-white depictions of Emile’s career as he goes from champion to has-been, whose battered brain can’t even remember three simple words.

In the end, it is Emile’s dual performances that give the audience an emotional one-two punch. The younger Emile, after nearly being beaten to death by a gang of thugs shouting anti-gay slurs, laments, “I kill a man, and the world forgives me; I love a man, and the world wants to kill me.” But it is the aging Emile who finally finds the redemption and peace he has been searching for when, with the help of his younger self, realizes that who he ultimately must seek forgiveness from is himself.

Through the life and story of Emile Griffith, Champion seeks to shine light on all who are marginalized, whether because of race or sexuality, to bring the underrepresented to the operatic world, and to challenge us, the audience, to be champions for justice and equality.

Champion is playing at the Lyric Opera through February 11. For tickets and information, visit the Lyric Opera website.

"The Broads' Way," written and directed the one and only Ginger Minj herself, is a frolicsome foray through well-known Broadway musicals, from “Hamilton” to “The Sound of Music” (yes, you read that right: what does a drag queen do about Maria?!). In fact, the first piece was Gidget Galore singing the title song before segueing into a side-splitting lampoon of "The Lonely Goatherd." 

But I’m getting ahead of myself here. Let me introduce the show and the showgirlz first. Ginger Minj is perhaps best known (first known, any road) as a finalist on Season 7 of RuPaul’s Drag Race, leading to appearances and engagements on both the little and the big screens. Gidget Galore got his start backstage, costuming shows and events in Central Florida. He’s been on the wardrobe team for Donna Summer, Diana DeGarmo, The Jacksons and, of course, Ginger Minj. In "The Broads' Way," Gidget abandoned his Singer to bedeck the stage with his own singin’ self. He was, naturally, responsible for the costumes in "The Broads' Way," and they were splendiferous! not to mention marvelously adapted to rapid – oftimes onstage – changes.

In the crew, Michael Burlow was Maestro Michael and Stage Manager, which must keep him mightily busy. Bob Silton was Production Manager; he has numerous Chicago theatre credits and has designed several restaurants along Chicago’s North Shore. Cee-Jay Russell, Producer and Tour Manager, keeps the company on course with his signature phrase “we will figure it out, we always do”. David Charpentier and Jacob Slane were also Producers.

Ginger and Gidget began the show with a rollicking introduction, laden with waggish double entendre, insinuation, amphiboly and equivoque. Ginger lamented, “One musician I auditioned said he couldn’t fit his organ into this tiny box”. Ginger then schooled us in “How to Be a Good Audience”, then frequently soliciting our participation all through the show. The audience was very much an auxiliary cast member in "The Broads' Way," and the gaiety [sic] of Saturday’s frolicsome fans made the show trebly enjoyable. Now don’t get me wrong – Ginger and Gidget are professionals and could have put on a good show for a house full of evangelical Republicans. But having a hundred people crooning along (obviously a showtune-savvy set) and roaring their approval at every turn – well, that’ll wring the best performance out of anyone.

Their sole musician abandoned his piano early in the show: (“It’s time for my Union break”), and none of Ginger & Gidget’s abject solicitations (the non-criminal type, mind) could restore their penis … oops, pianist. But Gidget’s Glamazon order arrived just in time: a Smart Speaker named Dyslexa. Once they learned how to properly operate the contrivance (Dyslexa does the opposite of whatever you command), the music was perfect – as should be, having been mixed by Ginger herself.

I’m not going to list all the songs they parodied (senior confession: I don’t remember them all!) but a couple stuck with me. Ginger’s performance of “As If We Never Said Goodbye” was brilliant, with the delicious final lagniappe, “I’m ready for my closeup, Mr. DeMille.” At the other end of the spectrum Gidget was hilarious in her droll burlesque of “The Lonely Goatherd”. Both are multi-talented, with rich, flexible voices, lavish acting talent, and the aptitude to appear daffy that’s so crucial to successful improv. They worked wonderfully together, performing the whimsical duet “Anything You Can Do”, with ribald absurdity.

Venus Cabaret was the perfect venue for "The Broads' Way". True, it was small, but its informal seating (it’s a cabaret, hello) and bar provided the relaxed, convivial atmosphere that’s picture-perfect for camp.

I have but one criticism: I was really hoping that Ginger’s brand new cookbook cum [ha!] memoir, Southern-Fried Sass, would be available to purchase – at the bar, say? I’d so much rather give the profit directly to Ginger than to Glamazon! [Though if you are, like me, an online shopper, they have it in stock at Semicolon, Chicago’s first black-woman-owned bookstore.]
But for unlettered entertainment you can’t beat "The Broads' Way," with Ginger Minj and Gidget Galore! Highly recommended.

"The Broads' Way" is playing in extended engagement through February 4 at Mercury Theatre’s Venus Cabaret.

“Mother Courage and her Children,” written in 1939 by German playwright Bertolt Brecht has been a challenging play for me, and having seen it prior to this Trap Door Theatre production, I wondered why, along with “Threepenny Opera” (1928), it is so popular among theater companies and actors.

But I figured if anyone could make this thing work, it would be Trap Door, and I am delighted to report that they have, in the production which opened this week at their magical space on Cortland Avenue. Directed by Max Truax in a translation by Eric Bentley, “Mother Courage” is accessible, intelligible, entertaining and compelling.

Holly Cerny gives a tour de force performance as Mother Courage, on stage continuously and called to sing, dance, and haul a canteen wagon. Her character is based on a real-life operator of a canteen supplying soldiers in the 30 years war in Europe in the 17th century. More than 4.5 million soldiers died in the prolonged religious conflict, but for Mother Courage and her young adult children, the war means their livelihood. Her two sons, Swiss Cheese (Rashaad A. Bond) and Eilef (Bill Gordon) are conscripted, further entrenching Mother Courage in the battles.

Eventually as peace dawns, Mother Courage is distressed that her means of income will be ended. She has lost a son who was court-martialed for stealing army funds at her behest. Another dies after killing a leader whose death reignites the war. In other words, she is a contemptible character - but the audience bears witness to this chicanery without empathy for Mother Courage or her brood, an approach in this style of Epic absurdist plays that Brecht intended.

Instead, Brecht is asking the audience to hear a statement about war, and the economics that underpin the interests of participants. All this, with song and dance - more macabre than delightful; and sung with the wry humor of cabaret. All the cast is notably good in adopting the non-naturalistic style Brecht intended: Kevin Webb is the cook; Joan Nahid as Mother Courage’s mute daughter Katrin; Caleb Jenkins as the Chaplain; Nena Martins as Yvette; and Tricia Rogers as a Soldier/Officer. We connect with these characters as totems for the forces of war they represent.

Set design by J. Michael Griggs, lighting by Richard Norwood, sound design by Dan Poppen, props by David Lovejoy and music by Jonathan Guillen combine to give an expressive force to the production. Periodically, supra titles let us know where we are in Mother Courage’s adventure - a really good touch, though they were sometimes obscured by the actors on stage. Perhaps they could be placed higher on the backdrop.
Trap Door Theatre, squeezed behind a Mabel’s Table restaurant at 1655 W. Cortland in Chicago (near Ashland Avenue), has over its 30 years taken on the most venturesome and challenging absurdist plays, and that makes it a true treasure. “Mother Courage and her Children” runs through February 24 at Trap Door Theatre. 

*Extended through March 9th

To those familiar with Cole Porter’s 1930s musical, you may recognize the opening notes as the live orchestra begins to play the title number. Reno Sweeney (played with dazzle by Meghan Murphy) bounds on stage, and the Opening Night crowd erupts in cheers. Sweeney takes in the applause and adoration as she starts to sing:

“Times have changed
And we’ve often rewound the clock.
Since the puritans got a shock.
When they landed on Plymouth Rock.”

As Murphy’s belt swells and rings through the theater, this audience only cheered harder. This is the 11 o’clock number, and the artistic team does not disappoint. As the ensemble joins Murphy on stage, Choreographer Tammy Mader pulls all the stops. Tappers, ballroom dance, and everything in between. Lighting Designer G. “Max” Maxin IV fills the space with color that is only heightened by the exquisite costume design full of sparkle. Looking around at the audience, it was clear that I was not the only one bouncing along in my seat. Before Murphy even hits the final lyrics, the crowd was on their feet, eager to reward this show-stopping number with everything that they had.

Directed by Michael Weber, Anything Goes follows Billy Crocker (Luke Nowakowski), a man hopelessly in love with Hope Harcourt (Emma Ogea). The one problem? She is engaged to Lord Evelyn Oakleigh (Jackson Evans), and her mother is eager to see that this wedding takes place. Billy sets out as a stowaway onboard the ocean liner S.S. American – desperate to win the love of his life. Ultimately, if he wants to succeed, he finds that his only hope is to trust his alliances with nightclub singer Reno Sweeney (Meghan Murphy) and two wanted criminals - Moonface Martin (Steve McDonagh) and Erma (Tafadzwa Diener).

With music and lyrics by Cole Porter, the score features famous hits including: It’s De-Lovely, Friendship, and of course, Anything Goes. Full of love triangles, mistaken identities, and missed opportunities, you might just find yourself on the edge of your seat – eager to see what twist or turn might come next.

The die-hard fans of the classic musical know Cole Porter hits audiences with one larger-than-life number after another. Weber and his team fill the small stage to the brim with impressive designs and jaw-dropping choreography. Especially when combined with the stellar vocalists, those numbers ranging from You’re the Top to Blow, Gabriel, Blow certainly stand out. However, if you’re anything like this writer, you might also find that the intimate, smaller numbers truly hit the heart of the show.

It’s De-Lovely comes towards the end of Act I. Hope is discouraged, knowing deep down that she loves Billy, but her mother will never let her end the engagement. Alone on the ship deck, Billy finds her, and the two begin to sway and sing.

“The night is young, the skies are clear
So if you want to go walking, dear,
It's delightful, it's delicious, it's de-lovely.”

The lights dim to a deep blue, creating the feel of moonlight. As the song continues, the two become lost in each other, and start to dance. Other couples join and dance alongside them, but for Billy and Hope, it’s clear that the world only exists between the two of them. To put it simply, Ogea and Nowakowski enchant the Opening Night audience with their sweet duet. As the ending note plays and Billy dips Hope in a final pose, an audible sigh could be heard from the crowd. 

Inspiring vocalists and a jaunty score make Anything Goes a night of fun. If you’re a classical musical fan, then this is the show for you. If you have yet to experience a production of Cole Porter’s classic, Porchlight Music Theatre certainly offers an exciting introduction as we hit the show’s 90^th anniversary.

RECOMMENDED

Running through February 25, 2024 at Ruth Page Center for the Arts – 1016 N. Dearborn St. 773-777-9884

*Extended through March 10th!

I wasn’t sure what to expect, not being an aficionado of animated / cartoon shows, but I figured hey, what the heck – it’s Christmas! And as it happens I have lots of good things to say about Music Theatre Works’ “Shrek: The Musical.”

It fits the bill for a holiday spectacle; it’s definitely spectacular. The performances were uniformly fabulous – from Jordan DeBose as Shrek to every last member of the ensemble there were no weak links. The orchestra, conducted by Linda Madonia, provided flawless accompaniment without ever overshadowing the voices. Laura Savage’s choreography, led by Dance Captain (and White Rabbit) Liora Lahav, showcased the cast’s talents individually and collectively.

The costumes, designed by Rachel M. Sypniewskr, were absolutely lush. It’s no mean feat to deck out dozens of fairytale creatures: ogres and princesses, a donkey and Three Blind Mice, Pinocchio, Peter Pan and Tinkerbell, Alice with White Rabbit and Mad Hatter … every cast member was onstage for the finale, “This is Our Story”, and they were a sight to behold!

“Shrek: The Musical” was a major production – there were 40 people in the production team and nearly 30 in the cast, so I obviously can’t praise everyone individually. You can find all the names at Music Theatre Works’ website but I’ll just discuss those who particularly stood out for me.

Jordan DeBose was wonderful as Shrek, their voice an appealing foil to Dani Pike as Fiona. Their best number was unquestionably “I Think I Got You Beat,” and their farting competition brought down the house. The message about the ubiquity of bad experiences and the pointlessness of competitive pain was made clear via the bathroom humor that appeals so strongly to kids. As I said, the entire ensemble was marvelous, but I particularly loved Michaela Shapiro as Pinocchio, and Brian Acker gave a special flair to Captain of the Guard.

The audience is always an integral part of the theater experience, and the kids, dressed up in their special holiday outfits, were great fun to watch. There weren’t many kids in the cast, but Omi Lichtenstein (young Fiona), Shaya Harris (teen Fiona), Teah Kiang Mirabelli as Young Shrek and Ugly Duckling, and Baby Bear Lea Biwer were terrific. The Tower princess trio of Pike, Lichtenstein, and Harris singing “I Know it’s Today” was marvelous, cleverly staged and perfectly performed. Michael Metcalf played a wonderfully tantrummy Lord Farquaad [more about Farquaad later but Metcalf’s performance was spot on!]. Maddison Denault captured my heart as Dragon, and the Dragon puppet, both its manufacture and its manipulation, was masterful.

If you’ve read other reviews by me you’ll know I unabashedly play favorites – there’s always one in every cast that takes my reason away (as Shirley DeVore would say), and in “Shrek”that one was Eustace J. Williams as Donkey. His character is the most unequivocally likable, but Williams went beyond Donkey’s innate charm with flawless comedic timing and potent use of space; his entire body – particularly his ears – perfectly expressed a full range of emotions.
“Shrek: The Musical” was a wonderful production with stunning performances. I do, however, have some procedural and production concerns. I’ll start at the top with Kyle Dougan, Music Theatre Works’ Producing Artistic Director, as I assume it was he who chose this play for MTW’s 2023 Holiday special.
“Shrek: The Musical” was Much.   Too.   Long.

Two acts plus intermission ran to nearly three hours – far too lengthy for a kids show! The actors came out to the lobby afterwards for photo ops, a lagniappe that lots of kids would probably have loved but relatively few took advantage of – by the time the aisles cleared it was pushing dinnertime and most parents just wanted to get their hungry cranky kids home, fed, and put to bed. What a shame! I’m sure lots of kids would have loved to show their friends a picture of themselves with Shrek and Fiona!

Going over the program afterwards my companion and I found at least an hour of material that the show would have been improved by cutting, bringing it down to 90 minutes running time with no intermission. Property rights may have restricted making cuts in the script; in that case the producer should have simply chosen another show, especially as length was by no means the only serious problem with “Shrek.”

For these problems responsibility lies with Director Johanna McKenzie Miller. In her Director’s Note she criticized the “strict casting” of the stories, citing the outdated gender message that a princess must sit in her tower and wait for a (male) prince to rescue her. I agree, that’s problematic, but then Miller went on to make casting decisions that actually raise far graver concerns.

Since Chicago theater’s recovery from the pandemic I’ve noticed an encouraging trend to focus on relevant social issues. In September 2022 I was blown away by Babes With Blades Theatre Company’s RICHARD III, produced as a collaborative project called Making Inclusive Theatre: Richard III as Disability Art. BWBTC is renowned for their gender-bending casting and exploration of previously unexplored voices, and in Richard III they focused on Ableism, featuring a blind actress in the title role, working with a deaf director.

“Shrek: The Musical” is – or should have been – a wonderful vehicle for bringing this issue before children. After all, the song “Freak Flag” in Act II is about everyone having a bit of freakiness in them. Unfortunately, not only did Miller fail to take advantage of the opportunity, she managed to portray an exactly opposite Moral of the Story.

I had been troubled from the start that Lord Farquaad, in the movie a very short man, was played by a full-size man acting on his knees; it was cleverly engineered but it just didn’t feel right to me. Then “The Ballad of Farquaad” informed us that Lord Farquaad was not simply a short man, he was a dwarf – and therefore a “freak.”

At that point this casting became not just troubling but actively offensive. Peter Dinklage showed us that a Little Person with acting talent need not – should not – limit his career to playing elves and fairies. I imagine Dinklage was already engaged when Miller was casting “Shrek: The Musical,” but Chicago’s actors certainly include multi-talented Little People, and Farquaad should absolutely have been played by one of them. The Broadway premier of “Shrek: The Musical” in 2008 cast a full-height actor as Farquaad. One might have hoped that 15 years later they would do better.

Miller’s ableism didn’t stop with Farquaad – incredibly, it got worse. Donkey’s song “Make a Move” featured backup by the Three Blind Mice, who at one point swing their white canes up to mimic microphones. The performance was truly funny – until Donkey snatched the cane away from the lead Mouse to use as a microphone himself.

NO.

Under no circumstances whatsoever is it OK to show kids that it’s funny to snatch away a disabled person’s mobility aid. Would people have laughed if Donkey had knocked a character out of a wheelchair and then done wheelies with it?

There is a really ugly history in this country of stage shows where majority demographic actors would dress and perform as caricatures of minority people with the intent of mocking or villainizing them. These shows, like SHREK, were seen at the time as good, wholesome family entertainment. But I never expected that in 2023 I'd be attending an ableist minstrel show.

"Shrek"could – should! – have sent a powerful inclusion message to kids: we all have our quirks and foibles and even a King may be a little freaky. This makes “freaks” normal. Instead, “Shrek: The Musical” showed kids that disabled peoples’ mobility devices are mere comic props, and Little People are true freaks who must be disguised behind Normal people in dwarfism blackface.

“Shrek: The Musical” is a well-performed show, but I advise you to think twice before letting your kids see it … and if you do decide to take them, make sure they’ve had an after-lunch nap! “Shrek: The Musical” plays at Northshore Center for Performing Arts in Skokie through December 31.

Sometimes you just need to go green. No, not a vegan diet and compostable paper plates, though a little more of each would help the planet. Go green with Shrek: The Musical, which runs through the end of 2023 at North Shore Center for the Performing Arts. Music Theater Works’ production, directed by Joanna McKenzie Miller, has many offbeat delights, including green-hued fart clouds blooming onto the upstage screen. Would those count as vegan and compostable? It doesn’t matter.

Based on the Dreamworks animated film Shrek, the musical pairs Jeanine Tesori, composer of such serious fare as Violet and Fun Home, with David Lindsay-Abaire, author of equally rigorous works such as Rabbit Hole and Kimberly Akimbo (which he and Tesori recently turned into a musical). With Shrek: The Musical, the creative team stays within unremarkable territory.

Taken on those safe terms, though, the show does not disappoint. The salty fairytale follows its ogre hero Shrek – who is cast off by his parents as a child and dwells alone in a swamp – and heroine Fiona – the princess who is cast off by her parents and grows up alone in a tower – to their happily ever after. Thanks to Lord Farquaad, the nasty royal who needs a queen to make him a king, Shrek and Fiona meet and conflict and fall in love with competing farts and belches.

Dana Pike as Fiona fills the stage with her rich voice, determined personality and droll humor, all of which align with particular power in “Morning Person.” While she clings to her quest to marry her fantasy man on a steed, she’s also a pragmatist who adapts to circumstances that contradict her fictional assumptions.

Jordan DeBose lets us love him as smelly Shrek (though a few of his lines got muffled in the Scottish accent). Eustace J. Williams as Shrek’s sidekick Donkey makes his incessant jabber always entertaining. Full-sized Michael Metcalf plays pint-sized Farquaad with such finesse, it’s easy to forget the actor does it entirely on his knees. And Michaela Shapira as Pinocchio seems to have hinges in her elbows.

A word about the set, a sure sign that stage technology marches on even as love stories remain timeless. The vast upstage screen uses motion graphics to chart shifting scenes and moods, from placid sunflowers to molten lava. Media designer Anthony Churchill’s projections mostly follow traditional storybook illustrations, but they are likely, in their sheer un-trendiness, to keep audience members of all ages transfixed.

It's been a hell of a year. Time for a few “F’s” that can be printed, like family, friendly, fantasy, free parking and, okay, farts. As a distraction from dire world news for adults and a variation on Christmas culture for the kids, Shrek: The Musical does the job with lots of jolly and its own shade of green.

Music Theater Works’ production is playing through December 31^st at North Shore Center for the Performing Arts. Go to Music Theater Works for tickets and information.

“Sugar Hill: The Ellington/Strayhorn Nutcracker,” is a revelation, an absolutely delightful spectacle that may open for you a world of riches in music, choreography, and costumes—it did for me.

Just as the 1892 Tchaikovsky “Nutcracker Ballet” is a holiday dream told in dance, so is this new Americanized (and to me, much more accessible) version, having its world premiere at Chicago’s Auditorium Theatre through December 30. 

It is rooted in a 1960 holiday jazz album by Billy Strayhorn and Duke Ellington, whose reinterpretation of Tchaikovsky's ballet classic is filtered powerfully through bluesy and swinging jazz, while holding substantial elements of the Russian composer’s original.

Muata Langley, one of the sumptuously trench-coated Hooligans.

The libretto and concept is by Jessica Swan, who has created a work for this century, and the ages—with direction and choreography by Tony nominees Joshua Bergasse and Jade Hale-Christofi. “Sugar Hill” features more than 30 dances in four scenes, each distinctive and substantial, expressing the music while advancing the adventurous story.

Strayhorn/Ellington’s 1960 “Nutcracker Suite” had just nine numbers, so “Sugar Hill” has infused the work with many other Strayhorn and Ellington pieces, including Strayhorn’s “Take the A Train,” which receives a show-stopping performance in dance, the whole production backed by a seventeen-piece jazz orchestra, conducted by Harold O’Neal and associate conductor Rob Cookman, both of whom also play piano during the show.

Brenda Braxton as Mother Sugar with her cat butlers.

Like the original “Nutcracker Ballet” the story of “Sugar Hill” centers on a poor little rich girl dreaming of adventures beyond the straight-laced confines of her home. But this little girl is Lena Stall, whose wealthy Black parents live on the Upper West Side; and her dreams take her to the 1930s Sugar Hill district in Harlem, where she experiences exciting music and characters. Nutcracker traditionalists will feel at home with the fine balletic performances by some of the greatest dancers, and mice, cats, dogs and the Nutcracker are all there.

Producers David Garfinkle and Dr. Ron Simons intended to preview this show in New York City in November. Instead, our city is blessed to enjoy this world premiere at Chicago’s historic Auditorium, a perfect setting for what I am certain will prove to be a ravishing cultural event of great import. “Sugar Hill” runs through December 30 at Chicago’s Auditorium Theatre.

You have be on your toes to catch The Conspirators productions, but it’s worth the effort. The troupe’s latest evanescent performance, just three days last week, was a take on holiday shows, actually a remount of the 2019 “Ayn Rand's ‘It's a Wonderful Life’ as Performed by the Conspirators,” but this time “Under the Direction of Diane Feinstein.”

As the title suggests, it’s a funny view of the world around us. Written by resident comic genius Sid Feldman and directed by Wm. Bullion, the three-day run at Otherworld Theatre otherworldtheatre.org concluded . This show, which “was-going-to-be-annual-until-the-pandemic holiday tradition” is a parody (Frank Capra’s 1946 “It’s a Wonderful Life” as it might have been adapted today by libertarian-slanted Ayn Rand) within another parody—a holiday TV special.

But Feldman, as always, ups the ante, and in this case the traditional TV holiday special is reset with the late Senator Feinstein replaced by another director. In last week’s actual staging, Covid struck several cast members during rehearsals. But actual director Bullion and a few other script-toting fill-ins delivered a memorable opening night. Though the overarching “TV special” theme was obscured, individual scenes were funny indeed.

For example, in Ayn Rand’s filter of “It’s a Wonderful Life,” when George Bailey (James Stewart in the film) decides to jump off a bridge, the angel Clarence offers, instead of discouragement, an assist. As Clarence takes George on a tour of what life for his family and friends would have been like if he’d never been born he visits his wife Mary, at work. But unlike the film,she’s not a penniless 1940s librarian. Instead, Feldman puts her in our current time, as a low-paid, harried waitress hawking sex-on-the-beach shots at TGI Fridays. "Sex on the beach, sex on the beach," she intones drably to the diners. Still locked in the 1940s, a clueless George Bailey tells her, “No no, Mary. You don’t have to sell your body to survive!” It’s very funny on stage, the actor dead-onJames Stewart impersonation.

You’ll likely be able to see the seasonal standard in December 2024, but The Conspirators’ next appearance will be May 15 - June 8, 2024 for “Viva la Mort.”