Items filtered by date: November 2007

As I neared the Black Ensemble theater, an undeniable sense of eager antcipation pervaded the atmosphere. While I stood there, patiently awaiting the arrival of my companion, I couldn't help but observe the diverse array of theatergoers—people of various ages and ethnic backgrounds,converging from all directions. They were in a hurry, eager to secure their seats for a performance they knew would satisfy their craving for pure, unbridled entertainment. These theatergoers were in for a treat.

 "Taste of Soul," skillfully crafted and directed by the talented Daryl D. Brooks, transcended its modest title. It proved to be an extraordinary event that exceeded all my expectations.Brooks has ingeniously crafted an engaging live cooking show, featuring the dynamic duo of Thee Ricky Harris and the equally remarkable Qiana McNary as the lead chefs. In addition to sharing brief biographies of soul artists, the hosts impart valuable lessons on preparing soul food to the audience. Their camaraderie and delighf ul banter contribute to the overall enjoyable experience.

Harris and McNary are aided by a slew of talented sous chefs. Vincent Jordan, Trequon Tate, Spencer Davis Milford, Catlin Dobbins, Britt Edwards, Makenzy Jenkins, Percy Nesbary III, Laron Jones, and the guy you can’t take your eyes off of when he’s on-stage dancing, Brandon Lewis, bring artists as varied as Aretha Franklin, Barry White, Marvin Gaye, Al Green, Simply Red, McFadden & Whitehead, The O’Jays and Gamble & Huff to life.

While the ensemble delivered a powerful performance, it’s important to highlight exceptional individual contributions. Vincent Jordan possesses a timeless stage presence that's truly innate; it's a quality that can't be taught and he undeniably possesses it. Witnessing Percy Nesbary III once again was a pleasure. Earlier this year, I had the chance to see him shine in The Beverly Arts Center's production of "Five Guys Named Moe," alongside Thee Ricky Harris. He stood out then, and he stands out now. His portrayal of Nick Ashford was a joy to watch.

Caitlin Dobbins and Britt Edwards, as the sole women in the ensemble, had the duty of playing most of the women in this show and they rose to the occasion. Edward's “Tina Turner” had all the energy and dances moves of the real Tina. Dobbins with her powerhouse voice would make Gladys Knight proud. Spencer Davis Milford proved soul has nothing to do with ethnicity, giving us a simply beautiful rendition of “Holding Back The Years.”

It goes without saying, Robert Reddrick is the premier Musical Director in Chicago, full stop. The band is the best band I have heard in any theater of any size in any city. Granted, the band overtook some singers, it was hardly noticed because everyone in the audience was singing along.

Marquecia Jordon’s costumes and Keith Ryan wigs effectively created the illusion of the various artist. The fantasized kitchen framed with projections of various artist is the brain child of Set Designer Denise Karczewski. I especially liked the oversized oven, when opened suggesting something hot is coming out. It never disappointed.

The mission of the Black Ensemble Theater is to eradicate racism and its devastating effects on society. What better way to achieve this mission than to invite everybody to the barbecue. If you yearn for entertainment, this is your show. I must warn you, eat before you come, with all the talk about food, Black Ensemble Theater didn’t serve one morsel of food. I really didn’t mind; I left quite full.

When: Through October 15, 2023
Where: Black Ensemble Theater, 4450 N. Clark Street
Running time: 2 hours- with a 15-minute intermission
Tickets: $65. - Seniors $55.
Contact: 773-769-4451

*Extended through October 29th

At first I wasn't digging “Moon at the Bottom of the Ocean,” Bryn Magnus’ two act play premiering at Dramatists Theater in Chicago. It opens with Paul (Jeffrey Bivens is excellent) sitting beside Vera's (Julia Williams) desk as she reels off brief descriptions of a scene in a coffee shop--but we're not sure why. Is it details for a camera shoot? A cinematographer's script? As Vera flies through the descriptions in a dull monotone, reading many of them with time stamps, Paul fidgets and jumps in and out of his chair.

"Notes," Vera's charges, in an effort to gain Paul's attention. We learn soon enough that Paul is a frustrated author struggling with completing his first novel. He has retained Vera to spy on a gentleman we never see, who he regards as his nemesis—Jonathan Lebenau, a prolific and celebrated author who has recently won a MacArthur Genius grant. Vera's charge: to find out for Paul the secret of Lauacaum’s success.

Never mind that back at home is Paul's angelic wife Leslie (Vicki Walden), who happens to be a barista at the coffee shop Lebenau frequents. Leslie has given Paul multiple opportunities to meet Lebenau directly, to ask for advice, or simply to share a bit of his own developing opus. In fact, we learn that Paul has never let anyone read a word of it. Not even Leslie, who has watched his writing struggles throughout their marriage.

"It isn't ready," Paul says. “Revealing your work before it's ready diminishes it,” he claims. Understandable sentiments to a certain degree. But this has been going on for 15 years! His wife has never read nor heard Paul read a single sentence from this work. Does it even exist? We begin to wonder, and the plot thickens.

As the audience becomes enveloped in this mystery, which is gripping, we also bear witness to the toxic fixation author Paul has for his nemesis Lebenau. Paul's fixation and his continuously uttered internal monolog is almost like a Dostoyevsky character. And we begin to see how this is poisoning his relationship with his wife Leslie. She is an ethereal songbird who effortlessly devises melodies that for Paul are intimidating in their beauty, and Leslie readily shares them with the world.

In the second act the mystery turns and we meet a satisfying resolution. Directed by Jenny Magnus and is part of Curious Theatre Branch’s 35th season. Dramaturg alert: it’s a very fine play, even in this bare bones production. And one I am so glad I saw. The show runs through September 23, 2023. Tickets are at Curious Theatre’s online box office. 

'Gypsy' is an excellent musical about a family in Vaudeville. The mother is overbearing trying to make the children, specifically the daughters, create a wildly famous act. It is at Marriott Theater in Lincolnshire, Illinois directed by Amanda Dehnert.

An initial striking character is Rose, played by Lucia Spina. She brings great energy and urgency right from the get-go that captures the audience's attention. Rose intensely rushes and pushes her children, Louise (Lauren Maria Medina) and June (Tori Heinlein), to fulfill bold theater dreams as a family. There are spirited performances at the beginning with Young Louise played by Elin Joy Seiler and Baby June played by Daryn Whitney Harrell.

The production takes an exhilarating turn at the song "Mr. Goldstone," when the family gains the connection to a powerful theater figure Mr. Goldstone played with an idiosyncratic charm by Sawyer Smith. The "Mr. Goldstone" number highlights the epic singing skills of Lucia Spina as Rose. All musical numbers have great choreography.

Another force in Act I is Tulsa, played by J'Kobe Wallace. The budding romance between Tulsa and June (Tori Heinlein) has a more carefree tenderness that is expressed in standout dance choreography. The more relaxed yet gleeful pacing of the number "All I Need Is the Girl" toward the end of Act I contrasts the relentlessness overdrive of the musical numbers starring Rose. This demonstrates the excellent quality of this production of 'Gypsy' that the pacing and sense of speed frequently varies, which makes it highly engaging for viewers.

Set design and lighting shines in Act II, where characters are constantly on tour in different areas. The stage set up demonstrates their changes in location in clear and innovative ways. The joy of many different locations, from Wichita, Kansas to New York City, adds to the charm of the Act II.

The production comes to a captivating emotional climax towards the end of Act II, powered by dialogue expertly directed by Amanda Dehnert. Dialogue between Rose, played by Lucia Spina, Herbie, played by Nathaniel Stampley, and Louise, played by Lauren Maria Medina, is extremely expressive. One of the core narratives of mother-daughter conflict and expectation is made widely resonant to all viewers by the amazing acting.

The themes of ambition, expectation, family, adventure, and joy are expressed in a thought-provoking and relevant way to all viewers.

'Gypsy' is scheduled to run Wednesdays at 1 pm and 7:30 pm, Thursdays at 7:30 pm, Fridays at 8 pm, Saturdays at 4 pm and 8 pm, and Sundays at 1 pm and 5 pm. To reserve tickets, call the Marriott Theatre Box Office at 847.634.0200 or go to tickets.marriotttheatre.com.

Coming-of-age is a subject with universal appeal across the arts.  Playwright Jonathan Keebler makes it fun by putting it to music composed by Ryan Korell in GAY CARD, playing at Pride Arts Center through September 24.

Logan (Ben Ballmer) is saying goodbye to the horrors of high school and is totally stoked to celebrate his college enrollment by coming out in a big way. To this end, he chooses the dorm called ‘Diversity House’. His best friend Melanie (Sophie Murk) does the same, as they’ve always been ‘there for each other’.

Logan quickly learns that it’s not that simple; there are many prerequisites to being issued a GAY CARD. In her role as Logan’s adjuvant braniac, Melanie steers him towards GayCardBlog-dot-com, where Logan is told he must decide what kind of gay boy he’ll be. His outrageous ventures into what he considers ‘Twink’ and ‘Artsy Gay’ (among others) are celebrated in song and dance.

At Diversity House Logan and Melanie find the voraciously heterosexual house mother Danielle (Rachel Carreras) and recovering jock Justin (Nathaniel Thomas). Corey (Joey Alvey) and July (Maya Radjenovich) present themselves as blissfully bi, while Graham (Freddy Mauricio) is somewhat mysterious – which naturally makes him alluring.

The GayCardBlog is brought to dramatic life by the Blog Trio – Michael Idalski, Adelina Marinello, and Elijah Warfield – who personate Logan’s pilgrimage with lascivious lyrics and appalling apparel – well done, Costume Designer Shawn Quinlan!  Ensemble numbers are completed by Kyle Johnson and Dance Captain Haven Sydney Denson.

Did someone say dance? Choreographer Britta Schlict gives us one spectacle after another, assisted by Jordan Ratliff, who is also Assistant Director under Pride Arts’ Artistic Director Jay Espaῆo. Espaῆo, Sound Designer Valerio Torretta Gardner and Music Director Robert Ollis navigate every number to near-balletic synchrony, even the full-ensemble extravaganzas. Sound Engineer Kat Tilt and Lighting Designer Kyle Anderson weave the story across the stage, with illustrative assistance from Projections Designer Eme Ospina-López. The few props are well-managed by Props Designer Hannah Dains. A large cast and near-continuous action present a challenge deftly met by Stage Manager Dakota Allen, assisted by Reagan Stevenson.  No nudity (rats!) but Intimacy Director Garrett McCann has some kissing to choreograph. And I loved the brilliant set created by Scenic Designer Brett Baleski, with its multiple levels painted in Miro-esque asymmetrical blocks.

Performances overall were outstanding. Ben Ballmer as Logan was in perpetual motion – supple, vivacious, and indefatigable – I’ve no idea how he kept that going! I’d swear his jumps soared a full yard off the floor – Air Ballmer! But, though his dancing was spectacular, it’s his sensational voice that really blew me away. Singing solo, duet, or choral; accompanied or a capella, his voice carried the show, strong and clear and true.

Actually, every voice in the cast was excellent. Sophie Murk’s [Melanie] superb soprano was exceeded only by her fortitude: during her most crucial solo her microphone repeatedly broke off, cut back in for a couple of measures, then failed again – a performer’s nightmare! Losing your mike is dreadful, but having it randomly cut in and out is calamitous! I’m sure Ms Murk had plenty to say about it backstage, but in front of the audience she was totally unflappable. The ovation she received was only partially (though deservedly!) for her singing; a significant portion was an accolade to her sang-froid.

Freddy Mauricio [Graham] also had a splendid voice, but it was eclipsed by Ballmer’s far stronger one, which also sometimes shrouded Murk’s performances.  It can be a real dilemma, from casting through rehearsal and into performances: how to manage the disparities in the cast’s endowments. It is, of course, the sort of predicament directors long for, but that doesn’t necessarily make disentangling it easier.

Live theatre, even in the biggest houses, was decimated by covid, and there’s much speculation about how to revive it. Theatre, particularly my beloved tiny storefront houses packed with sensational talent, is a Chicago hallmark. A couple of seasons at Second City is virtually a prerequisite to joining the cast of Saturday Night Live!  Everybody knows about Gary Sinise, but dozens more actors have been launched to fame from the Chicago stages. It’s imperative we maintain that heritage.

Trivia break: many think Chicago’s nickname of Second City is because its live theatre is second [only!] to NYC. Actually, the name is a legacy of the great Chicago Fire – we now live in the Second City that rose like a phoenix from its own ashes. Now where was I? Ah yes – how to help a Second Stage arise from the wreckage left by covid.

Debates rage: lower ticket prices to entice audiences, or raise them to pay artists a living wage? Present thoughtful, cutting-edge plays exploring society’s most pressing issues, or fill the stages with absurdity to provide escape from said issues? The Chicago Tribune has been running a series of op-eds on the subject, speculating on how best to support theatre.  Well, I’m a simple sort o’gal, and to me the solution is simple: attend more theatre!

GAY CARD has no deep social significance; it explores no critical current issues and poses no intellectual challenges. But if you’re in the mood for a very well-performed bit of musical fluff, see GAY CARD!

GAY CARD is being performed at Pride Arts Center through September 24^th. For tickets and/or more show information click here.

There is an economic theory centered around shoes. The theory, in short, says that one should spend more money on the best pair of boots that will last you ten years, as opposed to buying cheap shoes that will need to be replaced every six months. The latter path inevitably leads to more expenditure but the higher up front cost for the better pair is a barrier to those who cannot afford it. The theory is a perfect commentary on economics, poverty, and accessibility among many other factors, and this very same theory is one of the prevailing themes of one of the newest plays to come to Chicagoland; Kinky Boots.

Based on the 2005 British film Kinky Boots, written by Geoff Deane and Tim Firth and mostly inspired by true events, the musical tells the story of Charlie Price. Having inherited a shoe factory from his father, Charlie forms an unlikely partnership with cabaret performer and drag queen Lola to produce a line of high-heeled boots and save the business. In the process, Charlie and Lola discover that they are not so different after all. Kinky Boots is the big-hearted musical extravaganza that won six Tonys including Best Musical, the Grammy for Best Musical Theatre album and London’s Olivier Award for Best Musical. Kinky Boots features a joyous, Tony-winning score by pop icon Cyndi Lauper, and a hilarious, uplifting book by four-time Tony winner, Harvey Fierstein.

The Highland Park Players performed Kinky Boots amongst the immaculate Loyola Academy McGrath Family Performing Arts Center in Wilmette. This production of Kinky Boots, like a good pair of boots, has an incredibly solid foundation. Headlined by the burgeoning talent of Anania Williams playing Lola, and Ben Frankart as Charlie, the two lead an ensemble cast of shoemakers and drag queens bouncing between London and Southampton. Williams was captivating as the incomparable Lola, bringing the tenderness and vulnerability to the role that demanded attention whenever on stage. Frankart was an endearing and charming Charlie, displaying the tenacity of the character in the wake of his father’s death and rallying to save his people’s jobs. At times the actors fell out of their English accents or delivered a key line or zinger without the right force or timing of delivery though the latter could have been caused due to some technical issues with their mics which also cut in and out on several actors. Despite some earlier issues, as the play progressed, the underlying themes of appreciation, respect of differences, and overcoming obstacles with help and support prevailed. There is real talent in the Highland Park Players ensemble cast, couple that with great set design and staging, and Kinky Boots has all the makings of great production off Broadway in Chicago.

If this Kinky Boots production were a shoe, it would have an incredibly solid foundation and be quite comfortable, and could be worn by many different people, old and young, and have the added benefit of being worn for multiple occasions. With a good scrubbing a bit of polish it will be a performance with lasting stay power. Kinky Boots tickets can be purchased at: www.highlandparkplayers.com. The production runs from August 18-27th

Murder, intrigue, and Angela Lansbury: the three universally acknowledged truths that make up a great mystery story. Hell in a Handbag's production of Murder, ReWrote: The Musical Parody at the Den Theatre is the perfect cross-section of drag show and musical. Expect to laugh, cackle, restrain yourself from singing along, and make an immediate tribute to the incomparable Angela Lansbury as you’re reminded of what an icon graced our screens and stages for the better part of a century.

Musical theatre references and camp abound alongside the talented singing and comedic performances. Whether or not you’re a fan of Murder, She Wrote the television show, you’re bound to be entertained outside of all context at Murder, ReWrote: The Musical Parody.

(Left to right) Britain Gebhardt, Grant Drager, David Cerda and Caroline Kidwell in Hell in a Handbag Productions’ world premiere of Murder, ReWrote. Photo by Rick Aguilar Studios.

In The Den Theatre’s Murder, ReWrote, our favorite comedically reimagined mystery novelist Bessica Feltcher (Jessica Fletcher, in the real ‘80s/'90s TV show) has a harrowing case on her hands: that of a rich hieresses's daughter found dead in the living room of the family mansion.

Who could have done it? Her mother? The maid? Bessica’s hapless nephew Grady? It’s like watching a game of Clue play out in real time, only way funnier.

Britain Gebhardt channels Lansbury in voice, looks, and persona as acclaimed mystery author and amateur detective Bessica Jeatrice Feltcher, aka BJ. The hobbyist slueth finds herself at the center of a whodunit murder mystery leaving everyone wondering, “Who killed Christina??”

The rest of the cast is hilarious and committed to their roles as well, from Grant Drager as Bessica’s goofy nephew Grady to David Cerda's haughty, RuPaul-esque portrayal of heiress June Crayfish.

(Left to right) Mark Bartishell, Caroline Kidwell, Britain Gebhardt, Daniel Hurstand, Cathy Reyes McNamara in Hell in a Handbag Productions’ world premiere of Murder, ReWrote. Photo by Rick Aguilar Studios.

Hell in a Handbag Productions goes all out in this production, from the creative and unexpected ways they adapt a television series to the stage, the thoughtful references to Lansbury’s other work sprinkled throughout, and the loving insults they lob at the corniness of the original TV show.

The music and lyrics by George Howe and Ed Rutherford, along with the direction from Anthony Whitaker, make this musical parody a sparkling one. You can feel the love and attention to detail that went into every joke, reference, and visual gag, showing that this creative team genuinely loves its source material. You can only make fun of something lovingly – and cleverly – if you admire it and respect its merit in the first place.

Murder, ReWrote: The Musical Parody is playing at the Den Theatre through September 16, 2023. Tickets can be bought at the box office at 1331 N Milwaukee Ave or on their website.

*Extended through September 18th

The Writer by Ella Hickson, now in its U.S. premiere at Steep Theatre under the sure direction of Georgette Verdin, is a maddening yet compelling exploration of art, power, commerce, and gender. It is messy, incisive, and brashly frustrating. It is the anti-Barbie, exploring patriarchy, empowerment, and self-determination in a world without a hint of pink. People in this world must earn a living, which really gets in the way of idealism. The Writer is full of unwinnable arguments, plus a few that where the victories are the opposite of what one would like them to be. In a loosely defined series of scenes and rebuttals, the eponymous Writer reveals herself through excerpts from her plays and scenes from her life, though the lines between these are deliberately blurry. Both in the fictionalized versions of herself, and in the real (but are they? —our narrator seems a little unreliable), the Writer spends much of the play defending herself and her work, with only limited success.

Verdin has assembled a fine cast of both Steep Theatre regulars and guest artists willing to throw themselves into the melee that is this play. Lucy Carapetyan plays the Writer with an edgy and anxious self-righteousness that invites sympathy but not empathy, and occasionally veers into unpleasant self-absorption. As her fictional doppelganger and sometime lover, Krystal Ortiz’s grounded presence often makes the Writer’s points more effectively than the Writer herself, while also showing the pitfalls of the Writerly vision. Peter Moore as the Director is tasked with representing the Patriarchy and does so with the right amount of creeping condescension tempered with a pragmatic humanism that allows his arguments to resonate more than Hickson may like—or exactly how much she would like. Nate Faust makes one want to like his characters, bringing a guileless charm to his roles as the character of the Director and the real-life boyfriend of the Writer; he plays the former with a disarming openness that makes his over-bearing attitude more grating, and the latter with a weirdly imperious lack of self-esteem. Jodi Gage and Allyce Torres take on multiple roles throughout, but especially in a second act scene that breaks both the conventions of the play and the urban setting, embodying a mythological world where women are freed from the constraints of patriarchal norms in a piece that seeks to surmount conflict and tension in a modern, tribal ritual dance (Successful? No... but it requires commitment from its performers nevertheless).

The design elements also reflect the ephemeral nature of the theatre experience and the idea that reality itself is an extension of this experience. The “staged” scenes are stripped to their essentials—performer and text, with occasional projections to amplify this relationship and break away from the more concrete spaces of the rest of the play. The scenes that presumably show the Writer’s real life are played on precariously assembled sets that only partially define the spaces that they create. Scenic designer Sotirios Livaditis has created deliberately artificial stage sets with visual counterpoints that reinforce the spaces’ connections to the Writer, though the many moving parts make for some clunky scene changes. As the Writer’s perception of reality shifts into the metaphorical—writing being a calling and a life—the lighting (by Brandon Wardell) and sound (by Thomas Dixon) reflect the increasingly tenuous scenic elements, and occasionally mirror the darkness and self-doubt of the characters’ thoughts. Costume designer Gregory Graham conveys the practical concerns of the characters (and creates the modern tribal costume—accessorized athleisure: why not?) and clearly defines the difference between those who need to project a certain image and those who are privileged not to do so. Movement director Claire Bauman creates a plausible performance art ritual dance. Intimacy Director Gaby Labotka struggles with the reality of the more intensely sexual moments as far as pacing and masking (there is a lot more blanket work than there probably would be if the characters were as alone as they are meant to be), and the beats of the intimate scenes feel both awkwardly slow and rushed.

Director Verdin mostly allows the ambiguities of The Writer to be as frustrating as Ella Hickson most likely intended. She also leans into the bracing humor and combativeness of the dialogue, which is often laugh-out-loud-funny, even as the characters struggle to find common ground or solid answers. Having been written at the beginning of the #MeToo movement, the play mostly deals with the power of institutional patriarchies to shape attitudes, tastes, social hierarchies, age (what happens when an angry young woman grows older?), art, and, yes, sex. There are brief nods to intersectionality and economic class, and Verdin’s production acknowledges that these nods leave several elephants waiting in the wings in order to focus on feminism. The play and production are smart enough to understand that this two-hour dialectic is premised on the privilege of being part of a world where art provides a living for some and is affordable to others. Most people will find something to nod in agreement with, and that may not always be what the person next to them is nodding about. Hickson has written a metatheatrical puzzle box of polemical arguments, but fortunately she has also created characters that go beyond their arguments, especially in the hands of a sensitive director and a talented and empathetic cast. The Writer offers an opportunity to question what makes good Art (theater specifically, but as a metaphor for capital-A Art), the role and responsibility of the artist in society, and whether art is an extension of patriarchy or a tool to fight it. It does not offer any answers, which may have some echoing the words of one of the characters, who demands in vain that the Writer “write an ending.” But then they would miss out on the opportunity to do so over drinks after the show.

The Writer runs through September 16 at The Edge Theater 5451 North Broadway, with performances Thursday, Friday, and Saturday nights at 7:30 pm, and Sunday matinees at 3pm. For tickets and more information contact the box office at (773) 649-3186 or www.steeptheatre.com.

Like any Millennial, my playlists are quite eccentric. Firmly planted within the rotation of 90s rap, boy band battles, and classic oldies rests a plethora of show tunes; Hamilton, Wicked, Hairspray, and the occasional song from shows I've never seen. Give me a karaoke mic and Broadway song choices and I could go toe-to-toe with any musical theater savant. One bucket list item of mine has been to actually see the plays these ballads originate from. As my playlist pulled up the familiar "I Want to be a Producer" it was fate that the opportunity arose to see the play here in Chicagoland, The Producers.

The 2001 Tony Award­winner for Best Musical, adapted by Mel Brooks and Thomas Meehan from Brooks’ 1968 comedy film, follows Max Bialystock, the one time king of Broadway producers hungry to strike it rich, and Leo Bloom, an accountant with dreams of someday becoming a theater producer, as they discover that they could get richer by producing a flop than a hit and start by finding the worst show, worst director, and worst actors. When their new production, “Springtime for Hitler,” turns out to be a smash success, the plan is thrown off and the partners lives are thrown into chaos.

This classic production by one of the greatest comedy visionaries of our time, the incomparable Mel Brooks, still stands the test of time even though the satirical shock value are effectively muted on younger generations. It wasn't that younger audience members didn't know the Third Reich references, but like any satirical piece, it eventually begins to lose much of the context that allowed for the bite and tongue-in-cheek humor. What it might lack in context, The Producers still leverages clever 4th wall break with the actors and the audiencr, like when Steve McDonagh as Roger de Bris (as Hitler's understudy) joked with the modern audience about wearing Flippy floppies during his play-within-a-play monologue. And big bang musical numbers like "I Wanna Be a Producer," where Leo Bloom, played by David Heinously, sings about the drudgery of a boring office job and dreaming of something more, makes the play relevant and relatable regardless of your age. The cast were quick and witty, their delivery, interpretations, and full body acting made the play a competition for the show stealer. From Thomas M Shea as a Max Bialystok that rivals Nathan Lane, Kelsey MaxDonald as the sexy and aloof Ulla, Sam Nachison as the funniest pigeon not-so-former-Nazi Franz Liebkind, and the singular force of Eustace J Williams and Carmen Ghia, the friendly one-upping of the cast only enhanced the humor of this timeless play and brought modernity to the comedic gem.

While my trusty playlists have played every song from The Producers musical, I had never seen the play nor adapted movie. I sat somewhat self consciously with musical theater ifficiencados as they sat eagerly for their fifth or sixth viewing of the play. I braced for judgement but received an envied groan of "I wish I could see this for the first time again!" They urged me to expect nothing to be surprised for everything. From the minute the love orchestra tuned to the closing curtain I was entranced and in stitches throughout the play. It was fast paced, witty, with so much action humor the 2 hour run time flew by. I had to bite my lip to stop cackling as "Springtime for Hitler" played and bratwurst clad women danced across the stage like Vegas showgirls, all while an effeminate History heils himself with a bent wrist. Everyone in the audience of every age and creed were doubled over in laughter at some point in this production. Exceptionally cast with some of the best talent in Chicagoland, incredible tech and staging, and an agreed consensus from the musical theater crew that it was one of the best performances they'd seen in the 7th viewing; high praise from those audience members and this writer would concur.

In the days that passed, The Producers tracks have evaded my Pandora and Spotify playlists. When it eventually makes its revival, I'll now have detailed visuals of sequenced dresses, pigeon kissing Germans, walker bearing dancing grandmas, and jailhouse musicals. Don't get the references? Make your way to the northern burbs to see The Producers and text me your reaction when you see the bratwurst, I’d love to see that for the first time again.

The Producers A Mel Brooks Musical is now playing a limited engagement through August 20th in the Center Theatre at the North Shore Center for the Performing Arts in Skokie. Tickets are available at https://northshorecenter.org.

Chicago is in for a real treat. And based on the full theater at last night’s opening, I think most expected this production would be something special – and it is. MJ the Musical is a lavish production based on Michael Jackson’s amazing life that engages its audience from beginning to end and it is now playing at the James M. Nederlander Theatre through September 22^nd.  

This MJ Estate approved production mainly focuses on the rehearsals just prior to the wildly successful 1992 “Dangerous Tour” that toured in multiple countries and grossed over $140 million (in the 1990’s!). What some might now know that is explained in the play is that was a make-or-break tour for Jackson. Worried that he was on the cusp of losing relevance with old and new music listeners, MJ put everything he had into this tour leveraging his precious rights to The Beatles songs he owned and eventually mortgaging his prized Neverland Ranch to finance the endeavor, but also pushing his physical abilities and stamina to the limit. When his nervous advisors caution him about the money that is at risk with the magnitude of the tour and that he is “hemorrhaging money”, Jackson simply responds with, “We’ll get it back.” In MJ, we get a firsthand look at the pressures that Michael was under to make this tour succeed while revealed in this musical are the underlying factors that ultimately contributed to Jackson's untimely death – factors which are poignantly touched on regarding his dependency of opioid painkillers that he feels are key in helping him to push on beyond his parameters.

The story really unfolds when Rachel, a fictional reporter well played by Mary Kate Moore, is invited to interview Jackson while he is preparing for his Dangerous Tour in 1992. MJ, along with his handlers, prefer to keep the interview light with an aim solely on his music. But Rachel is determined to get a more in-depth interview stating it’s been years (14 was her estimation) since he’s really opened up to a reporter. In interviewing Michael over the course of two days at his rehearsals, more and more is revealed and the story travels back and forth from the 1992 tour to his past where it all began when he was just a young boy singing with the Jackson Five – a turbulent time for the talented singer, thanks to his abusive father, Joseph Jackson (Devin Bowles). Joseph managed the band comprised of his children and was beyond a perfectionist, pushing young Michael and his brothers to a never attainable standard for most. He is portrayed as strict, a womanizer who had no problem using his hands on his family to get his point across. We clearly see from this production where Michael gets his never-ending drive to perform at the highest level, even if it means taking pills to cope with the stresses of achieving that kind of success.

Roman Banks is STUNNING in his role as Michael Jackson during the 1992 rehearsal scenes. Banks’ voice has an uncanny likeness to Jackson’s and his dancing is nothing less than spectacular. Banks performance as MJ is worth the price of admission alone. Brandon Lee Harris also shines as in between Michael that takes place during his later days with The Jacksons through MJ’s super breakout “Thriller” album. Both Harris and Banks take turns impressing the audience with an astonishing representation of Jackson at different ages, while not to be forgotten is Ethan Joseph and Josiah Benson who share the role of young Michael on alternating show performances – also spectacular.

Four actors of varying ages are perfectly cast to portray Jackson as a child, young adult in The Jackson Five era and during the “Dangerous Tour”.  These actors have mastered Jackson's trademark vocals for their period along with his highly skilled dance techniques. I was absolutely blown away by each actor portraying him.

This play with book by Lynn Nottage is wonderfully directed by Christopher Wheeldon, who also exceptionally handles the production’s choreography. This is a show filled with exciting visuals, sounds and awe-inspiring scenes. The choreography and lighting effects during the scene where Jackson's study of Bob Fosse, Fred Astaire and The Nicholas Brothers are represented during a fantastic mesmerizingly choreographed dance sequence by Jackson and the entire ensemble – just one of so many beautiful moments in this musical.

Jaylen Lyndon Hunter as Little Marlon and Ethan Joseph as Little Michael with cast in 'MJ the Msucial'. Photo by Matthew Murphy, MurphyMade.

The stage design is marvelous and colorful and impressive, with exciting lighting effects created by Lighting Designer Natasha Katz that literally made the audience jump with surprise at least three times during this fast paced and upbeat retelling of Jackson's life. 

The ensemble is rich in talent with tremendous performances led by Devin Bowles who doubles as Joseph Jackson and Rob, the “Dangerous” Stage Manager and impressively switches personalities from that of a controlling abuser to a kind, caring employee of Michael’s almost instantly without a hitch. Also striking in their supporting roles are Josh A. Dawson as Tito Jackson and Quincy Jones, and Anastasia Talley as Ketherine Jackson and Kate. Jaylen Lyndon Hunter's star also shines brightly as Little Marlon.

This is a production that rocks in every way and fine tunes even the smallest details to give us an incredibly memorable experience. This is also a production that was stopped a handful of times throughout the performance as the audience took to their feet in ovation.

With big performances from Michael from the “Dangerous” era to the Soul Train days of The Jackson Five, this is one mind-blowing, highly energetic, colorful, and unforgettable production. Oh, and the soundtrack is as good as it gets with favorites being performed one after another including “Bad,” “Smooth Criminal,” “Earth Song,” “I’ll Be There,” “Man in the Mirror,” and “Thriller” to name a few.

MJ the Musical is a must see that does the King of Pop right and wonderfully honors the superstar’s legacy.

I highly recommend this exciting, inspiring, and satisfying production to audiences of all ages who wish to enjoy a night of Jackson's timeless music performed by some of the most gifted musical theater actors I have ever witnessed on a Broadway in Chicago stage. 

MJ the Musical is being performed at the James M. Nederlander Theatre though September 2^nd. For tickets and/or more information click here.

THE LIGHT has a cast of two, placing enormous demands on both actors, but Jazzma Pryor as Genesis and Rich Oliver as her partner Rashad rose to the challenge splendidly. Under the direction of Tim Rhoze, Fleetwood-Jourdain Theatre’s Artistic Director, THE LIGHT is an in-depth examination of heterosexual relationships, particularly those between Black women and men.

THE LIGHT begins on a high and happy note: Rashad has bought an engagement ring to celebrate his and Genesis’ two-year anniversary. The felicitous evening hits a snag, however, when Genesis objects to an event Rashad has arranged for them. In trying to understand Genesis’ demurral, a dark incident from the past is exposed; its toxic influence escalates as details grudgingly emerge. The script is tight and compact, without superfluous elements – unusual for a play that is focused on emotions rather than actions.

Loy Webb’s brilliant script depicts a relationship crumbling before our eyes – and theirs! It’s written from a woman’s point of view, displaying the male animal’s archetypal bewilderment regarding issues of emotion. Women are from Venus, men are from Mars. Everybody knows that.

But THE LIGHT goes far deeper. Webb uses Genesis and Rashad to examine a wide host of emotions: how they arise, how they are perceived, how they are countered – and particularly how they diverge, even contradict, between female and male. Yet despite its gynocentric bias THE LIGHT manages not to browbeat or bully the other half of the species. Men in the audience – the ones I spoke with, any road – did not feel threatened, but acknowledged that Webb’s depiction was authentic and perceptive. Other men may have gone home to stick pins into pictures of their moms. One never knows …

THE LIGHT is also focused particularly on Black couples, emphasizing those flavors of misogyny peculiar to Black men, and the stereotypical images of both women and men in Black culture. Still, I found Webb’s insights to be more broadly applicable – tough to do, but Loy Webb manages in THE LIGHT.

A two-person cast has special challenges for the director as well as the actors, and Tim Rhoze did an exceptional job. THE LIGHT was more than simply a beautiful play; it was contemplative and thought-provoking; even disturbing. It illuminated aspects of my own life and relationships, including some I would rather have left in shadow. This sort of reluctant introspection requires an exceptional script, brilliant actors to bring the words to life, and shrewdly mindful direction to interpret and guide the whole.

The set is, of course, the first thing one notices upon entering the theatre, and I was instantly riveted. Co-Set Designers Tim Rhoze and Shane Rogers used minimal furniture and Costumer Lynn Baber followed his lead with simple clothing. Both measures helped prevent distraction from the stunning background painted by muralist Jess Patterson. Half a dozen abstract women’s faces in shades of blue and crimson set the atmosphere and provided the backdrop for Lighting Designer Hannah Wein to use the lights as almost a third character, particularly during the final moments of the show. Kara Roseborough was Sound Designer, as well as (with Assistant Alexis Harris-Dyer) maintaining global oversight as Stage Manager.

I’ve been consistently impressed by the performances at Fleetwood-Jourdain Theater. FJT has remained committed to its mission: to celebrate Black and African-American experiences through diversity and creative excellence. “Umoja! …. Working Together in Unity” is the foundation upon which FJT has built this exceptional venue. I saw AMERICAN SON in November 2022; my review begins: “You know that breathless moment of silence after the curtain falls and before the applause begins? That moment doesn’t happen often, and it always indicates a truly extraordinary performance.” This magic moment, this ultimate accolade happened again last Sunday at the close of THE LIGHT. Need I say more? HIGHLY RECOMMENDED!

THE LIGHT will play at Fleetwood-Jourdain Theatre through August 20.