Items filtered by date: June 2026

Notable New York playwright Stephen Adly Guirgis’s 2000 breakthrough play, “Jesus Hopped the 'A' Train,” is receiving a dynamic revival at City Lit Theater, with a fantastic cast delivering excellent  performances and inventive staging, all under the direction of Esteban Andres Cruz. Guirgis went on to win a a Pulitzer Prize in 2015 for his celebrated work, “Between Riverside and Crazy.”

Berwyn-born Cruz has a history working with Guirgis, and played the role of Angel Cruz in a 2008 Raven Theatre production for which they received a Jefferson Award. Now Cruz is guiding a brace of accomplished actors in Guirgis’ drama, along with 2024 University of Michigan graduate and relative newcomer Lenin Izquierdo, “an angel sent to us from heaven,” says Cruz. “He just had the beautiful thing about his heart that you can’t teach or fake.”

Izquierdo has the lead role that Cruz played, the young Latino Angel Cruz, who wounds a cult leader—Rev. Kim—who he believes is stealing away with his friends and family, and their money. Angel is arrested and sent to Rikers Island to await trial. When Rev. Kim dies from complications following surgery, the charges rise to murder. “Jesus Hopped the ‘A’ Train” thus carries the inherent dramatic tension of a jailhouse drama, and a courtroom trial.

Maria Stephens as Mary Ann

Guirgis’ play is structured in two acts, with a series of interconnected vignettes that allow each of the characters to deliver exposition, and full portrayals of themselves. Sometimes the vignettes feature a single character, or Angel paired with another—the sadistic guard Valdez (Manny Tamayo is stunningly good as an unvarnished tyrant); the court-appointed lawyer Mary Jane Hanrahan (Maria Stephens in a knock-out performance); the sympathetic guard D’Amico (Michael Daily brought me to tears); and Luscius Jenkins (Bradford Stevens) in a demanding role as a fellow prisoner, a convicted serial killer awaiting execution.

Lenin Izquierdo as Angel (left) and Manny Tamayo as Valdez

Scenic design by Tianxuan Chen is surprisingly effective in its minimalism: layers of canvas graffitied and draped as backdrop to an open stage. A backlit scene (lighting by Josiah Croegaert) is very striking representing off-stage prisoners tormenting Angel. Several scenes stay lodged in my mind: Angel Cruz forlorn in his cell, struggles in his first night in prison to recall the Lord’s Prayer, as prisoners taunt and complain in the background; the empathic guard D’Amico recounting his witness of an execution; Angel’s vivid recollectionis of the joyful play with his friends in the days of his youth.

With all its strengths, “Jesus Hopped the ‘A’ Train” falters perhaps on the basis of script: we get a little too much of the ravings of Lucius the serial killer, and the closing scene of the play seemed more like a diversion than a resolution.

“Jesus Hopped the ‘A’ Train” runs through September 27 at City Lit Theater in Chicago. It comes highly recommended.

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

Earlier this summer, The New York Times asked its readers to submit their lists of the top 100 films of the 21st century. Scrolling through social media, it was clear the 2001 French film ‘Amélie’ was a millennial fan favorite. A whimsical rollick through Montmartre seems like ripe fodder for a musical these days so it’s no surprise the film was adapted for the stage in 2017. While not exactly a huge hit during its original New York run, Kokandy Productions sets the record straight with their Chicago debut.

If you took French in high school or college during the early 00s, chances are you’re familiar with the quirky character famously played by Audrey Tautou. With a show like this, your production can only be as good as your Amélie. Aurora Penepacker brings the character to life in a charmingly familiar way but with her a voice that is altogether unique and powerful. Amélie might be timid, but in this version her voice is anything but. Her romantic counterpart Nino is played with bittersweet sincerity by Joe Gionvannetti. Their chemistry is undeniable.

By now there is growing fatigue of Broadway musicals adapted from beloved films. A big reason is that often the music feels somewhat secondary, but Daniel Messeé’s whimsical score stirs up all the same kinds of emotions the movie does without oversimplifying the plot. The songs are woven into the plot and take the audience even deeper into Amélie’s rich inner world. A lively cast of actors and musicians provide just the right ambiance to feel whisked away to Paris for the evening.

The world of ‘Amélie’ at the Chopin Theatre is a very beautiful one. Kokandy Productions has the perfect space for director Derek Van Barham’s vision for this show. Nestled in the basement theater, Amélie’ is staged in a way that makes audiences feel as if they’re sitting in the cafe where Amélie works. Those who have been to the Chopin Theatre in Wicker Park will recall their “cottage core” aesthetic rich with antiques and shabby-chic furniture. Van Barham’s staging makes for an immersive experience that also really serves the emotional tone of the show.

With ‘Amélie’ Kokandy Productions proves again what makes Chicago such a thriving non-equity theatre scene. Creativity and talent intersect with their revival. There’s a world in which an ‘Amélie’ musical could be the cringiest thing to ever trod the boards, but instead Van Burham goes for something more authentic. His version has found a refreshing balance of the artful and the wistful. Haven’t seen ‘Amélie’ the film? No problem. The script by renowned playwright Craig Lucas is a succinct retelling without subtitles. If you’re feeling a little nostalgic for the twee early 00s, ‘Amélie’ is a lovely stroll down memory lane. 

Through September 28 at Kokandy Productions at The Chopin Theatre. 1543 W Division St. 773-278-1500

*Extended through October 19th!

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

Uptown Music Theater Highland Park hits all the right notes with their electrifying staging of Hairspray - a radiant production bursting with kinetic energy and a message that feels as relevant today as it did in the 1960s. Under Tor Campbell’s dynamic direction and deft choreography, the show dazzles with retro flair, reimagining John Waters’ cult classic into a kaleidoscope of color, sound, and joy.

Set in Baltimore’s swinging ‘60s, the story follows Tracy Turnblad, a teen with sky-high hair and sky-higher hopes, whose winning moves and spirited charm earn her a spot on the Corny Collins Show. But Tracy’s dance floor debut sparks more than fame—she becomes a beacon of change, confronting segregation and defying conventional beauty standards with boldness and heart.

Beneath the glittering costumes and high-octane choreography, Hairspray hums with sharp-witted satire and a powerful call for inclusion. At its emotional core is Edna Turnblad—portrayed, in true tradition, by a man in drag—whose journey as Tracy’s mother weaves humor and heart into the show’s celebration of self-acceptance. From the dreamy swell of “I Can Hear the Bells” to the adrenaline rush of “You Can’t Stop the Beat,” the production dazzles with theatrical flair while staying rooted in its message: that joy, justice, and rhythm are revolutionary forces in the face of convention.

Taking place at Highland Park High School, scenic designer Bob Knuth absolutely goes off and transplants theatregoers into the early 1960s incorporating even the tiniest details of that mod era into his set. The visuals are complimented by Ben Argenta Kress, who deftly fashions the costumes that really recreate the youthquake movement. If, like myself, you love the style of the early 1960s, you are in for a big treat.

Scott Spector (Edna) and Grace Hall (Tracy) in 'Hairspray'. 

Grace Hall radiates charisma and talent in the role of Tracy Turnblad, winning over the audience almost instantly with her spirited performance of “Good Morning Baltimore.” From that opening number onward, Hall proves irresistible - charming, confident, and utterly delightful. Her portrayal not only anchors the show but makes Tracy’s journey feel personal and empowering.

The cast surrounding her is nothing short of exceptional, each performance adding texture and warmth to this buoyant production. Lily Ramras brings sweet sass and impeccable timing as Penny Pingleton, Tracy’s quirky best friend, while Erin Kelly gives a wonderfully neurotic turn as Penny’s uptight mother, Prudy. Abraham Deitz-Green dazzles as love interest Link Larkin, showcasing smooth vocals and slick dance moves that light up the stage. Ajene Cooks as Seaweed J. Stubbs is a showstopper - his graceful, razor-sharp choreography and rich, emotive voice makes each of his scenes feel electric.

Scott Spector delivers a riotously funny and heartfelt portrayal of Edna Turnblad, balancing outrageous humor with surprising vulnerability. As husband Wilbur, Corey Mills holds his own beautifully, drawing laughs with his understated charm and seasoned comedic instincts.

Sharon Miles brings soulful gravitas as Motormouth Maybelle, her vocals soaring with both power and emotional nuance - she stops the show in the best way possible. Ethan Lupp brings irresistible pep and charisma to Corny Collins, while A’mia Imani charms as the spunky Little Inez, adding vibrant energy to every scene she’s in.

And the hilarious mother-daughter antagonists, Velma and Amber Von Tussle, portrayed by Emma Jean Estlund and Rebecca Mactaggart respectively, are a gleeful spectacle of comic flair and exaggerated villainy. Their performances strike just the right balance between camp and conviction, elevating the production’s satirical edge.

The dancing is as tight as it gets and the vocal efforts are admirable, thanks to an amazing ensemble that is positively fun to watch. Put it all together and we have one heckuva production!    

“This cast is electric,” said Director Campbell. “They’re not just learning steps—they’re channeling the heartbeat of a movement. Hairspray might be wrapped in beehives and bops, but it’s about what it takes to be seen, to be heard, and to break through. This isn’t just a show—it’s a joyful rebellion.”

Since its Broadway debut in 2002, Hairspray has transcended its status as a feel-good musical to become a vibrant cultural touchstone. With the infectious energy of its early ’60s setting, it boldly tackles issues of race, body image, and social justice—shining a spotlight on the entrenched inequalities of the entertainment world. Tracy Turnblad’s transformation from eccentric teen to fearless activist echoes the spirit of the Civil Rights Movement, challenging audiences to confront the biases that linger beneath today’s bright lights and big stages.

What elevates Hairspray beyond standard musical fare is its ingenious blend of breezy fun and pointed activism. Through catchy tunes and unapologetic camp, it makes complex social issues—race, representation, body image—accessible without losing their emotional bite. Motormouth Maybelle anchors the story with soul and gravitas, voicing resilience and hope with every powerhouse note. And when the Corny Collins Show bursts into full integration, it’s not just plot resolution - it’s a euphoric emblem of youthful rebellion and transformative spirit. Hairspray reminds us, with glitter and grit, that joy can be revolutionary and identity unapologetically bold.

Highland Park High School’s theater is a wonderful venue for theatrical productions, especially one like this with such a large cast and a 20-plus-piece orchestra led by Aaron Kaplan. Inside, every corner radiated charm, cozy enough to feel personal, grand enough to feel electric. When the lights dimmed and the music sparked to life, the whole theater seemed to take a collective breath. And as the performers lit up the stage, the room itself responded, alive with applause and laughter, while soaking in the whole-hearted moments. I didn’t just watch the show—I got swept up in it.

It’s a shame the run was so brief—just two weekends, wrapping up on August 3rd—because I would’ve loved the chance to experience it all over again. That said, Uptown Music Theater Highland Park left an indelible mark. Their production was so polished and heartfelt, it’s made me genuinely excited to see what they deliver next. They’ve certainly earned a spot on my radar. For more information on this fantastic theatre company, visit http://www.uptownhp.org/.

Highly recommended for audiences of all ages!

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

Sometimes we can’t fully appreciate the giants who walk among us until we have the chance to view them and their achievements through hindsight. In the case of tennis great Billie Jean King, that process is being bolstered through the arts. Now playing at Chicago Shakespeare Theater (CST), a powerful and unabashedly joyful retrospective of King’s life portrays a woman initially driven simply by a thirst for winning. As the story about her grows and her life begins to take shape, winning remains a driving force, but fairness and equality soon join it to ultimately define the full scope of her destiny.

The first female athlete to receive the Presidential Medal of Freedom, the nation’s highest civilian award, and with enough Grand Slam tennis titles and Wimbledon victories to keep her emblazoned in the record books for centuries, she’s now an icon in the truest sense of the word. She’s also at that stage of life when one considers how they will be remembered. When approached about a project focusing on her life, King was open to a play. What surprised playwright Lauren Gunderson is that she was recruited to write Billie Jean, the theatrical sensation currently premiering at CST.

Although Gunderson may have been startled by her selection, the choice couldn’t have been more ideal. Not only is she the one most produced contemporary playwrights in the country, but her work is also very often women centered with the express intent of highlighting the contributions of the less seen and unseen. Most commonly too, her vantage point is usually historical. In this effort, she would be working with a living national treasure to present a truthful and moving account of the valleys as well as the mountains of a highly notable life. Her prodigious writing prowess along with Marc Bruni’s masterfully perceptive direction turn Billie Jean into a celebration of being who you are and staying true to one’s core convictions.

You see King at her most pure shortly after the play’s splashy adrenaline-stirring intro and a little firecracker lights up the stage in the form of Julia Antonelli as a young Billie Jean. As precocious intellectually as she soon proves to be athletically, the pre-pubescent tennis wonder is an observant keg of energy with plenty of questions and more than capable of making her own keen deductions about the world she lives in. Once she dips her toe into the sport of tennis, she’s hooked and hungers to get better so that she can win. Her drive to become the best at what she does makes her ceaselessly inquisitive. When she crosses paths with Althea Gibson, one of the first black women to push aside the color barrier in international tennis and the first to win a Grand Slam, the trailblazer shares nuggets of truth that will stay with the youngster for the rest of her life. Pearls like trusting yourself first and that despite hardships, obstacles and hurdles, “winners find a way”.

That phrase becomes a mantra, in addition to nuggets like “one ball at a time” and “pressure is a privilege”. They keep bubbling up whenever a setback threatens or doubt begins to loom in this very fast paced production that makes a NASCAR race look like a sad jalopy crawl around a beat-up track. Wilson Chin’s scenic design bubbles over with the green of a lush grass tennis court. Joined by David Bengali’s splendid projections and videos to enhance both intimacy and excitement, the show’s production components are nothing less than stunning.

Despite being a world celebrity and cultural exemplary for over half a century, there’s probably only a small percentage of the public who’re familiar with the fact Billie Jean King was once Billie Jean Moffitt. Married to Larry King in her early 20s, well before she achieved the fame she enjoys today, aspects of her private life are as fascinating as her career in tennis. Gunderson’s honest penetrating writing, coupled with Chilina Kennedy’s superb performance as King, exposes the heroic internal growth the tennis star experienced outside the limelight as well as in. It’s an aspect of her story that proves every relationship is supremely unique.  The two decades she spent with her former husband testify to how poignantly inscrutable so many marriages can be.  Through his portrayal, Dan Amboyer as Larry King brought a level of compassionate regard to his role that one rarely has a chance to witness on stage or screen. Those scenes depicting Billie Jean King the person give expression to the play’s heart. The ones that recall King’s advocacy unleash its fire.  

Outrage doesn’t always spur action.  It did for King. Incensed that as the top performing player in her sport, she was not being justly compensated because of her sex, initially drew her ire. That pique then turned her into a tireless proponent for pay equity in sports. The legitimacy of her cause took time to take root and withstood considerable opposition before it gained traction. It was the prelude to the historic battle of the sexes in 1973 when King defeated Bobby Riggs in three straight sets. The victory was enormous and brilliantly brought back to thrilling life in Billie Jean.

When King fell in love her wife, Ilana Kloss, she had to make a choice. She’d already defended the right of transgender athlete, Rene Richards, to play in professional women’s tennis. Realizing it was necessary to show up with the same kind of bravery for herself, she set a standard for how to achieve true self-actualization. That model continues to inspire legions today.  

In Billie Jean, a lot more aspiring winners are handed the blueprint for finding their way through the transformative power of the arts.

Billie Jean

Through August 10, 2025

Chicago Shakespeare Theater

Navy Pier

800 E. Grand

Chicago, IL  60611

https://www.chicagoshakes.com/

Highly Recommended

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

When an opportunity arose to see a sneak preview of a new musical about President Barack Obama, there was a clash amongst younger generations to see who would get the chance to see it. Though it has been nearly two decades since Barack Hussein Obama was inaugurated into his first term, the allure and awe of the man still resonates to this day. His presidency was a historic event, a pivot point for our nation marked by hope and positivity and grace under pressure. It was no surprise to me that so many writers jumped at the opportunity to see a sneak preview about 44 – The Musical about the former beloved president.

Barack Obama’s election changed history. And as we can clearly see, it also ended racism forever! But 44 is the story of Obama you won’t read about in the history books…because history books are now banned in most states. But also because 44 is the story of Obama as Joe Biden kinda sorta remembers it.

44 – The Musical is a satirical, unofficial, and unsanctioned musical about the rise and presidency of Barack Obama, told from the perspective of then Vice President Joe Biden. It boasts itself as a satirical political musical featuring over twenty original songs with titles such as “M.F.O.”, “F*&# You Ted Cruz”, and “How Black is Too Black.” In the few musical numbers showcased, it was too difficult to discern whether this musical is anything more than a cash-money grab capitalizing on the nostalgia and love of the former president. The musical numbers performed featured tag lines repeated ad nauseum during Obama’s terms, mother-f*&#ing-Obama, there are no red states or blue states, they even showcased a stereotypically campy comedic relief with a ‘sleepy’ Joe Biden narrating the events.

The musical was written and directed by former Obama campaign staffer Eli Bauman whose wry and acerbic comedic styling was evident even in the brief showcase. From the beautifully shot B-Roll footage and hype videos played, one would think this musical is poised to become the next Broadway darling. There is no denying the talent of the actors and singers, belting out beautiful riffs and runs that tickle your brain, but there doesn’t seem to be much substance for them to work with.

44 – The Musical strikes me as a satirical farce written with good intentions but lacking depth and meaning. Stereotypes seem to abound in the musical, and it appears to be banking on Chicagoans' love and admiration for Barack Obama to draw people through the doors of the Studebaker Theatre. It’s tough to say how the musical will be received in the competitive Chicago Theatre scene. There’s no shortage of talented writers in the Windy City, shows that start on time, and plays and musicals that leave you wanting more. It’s not clear whether 44 – The Musical will be a one-term or two-term play, but it’s safe to say it hopes for the best. 44 – The Musical will be playing at The Studebaker Theatre (410 South Michigan Avenue Fine Arts Building, Chicago, IL) in a limited run from August 23-September 21, 2025. Tickets are available at www.44theobamamusical.com/tickets.

Fans of highly intellectual and nonlinear storytelling will love INCOGNITO. Playwright Nick Payne is known for plays with inventive narrative structures and deep philosophical inquiry—qualities that are clearly in evidence in INCOGNITO. This production is the Chicago debut of INCOGNITO; across the Pond the work has been praised for the innovative storytelling with which it probes memory, genius and identity.

Payne’s ‘inventive narration’ and ‘innovative storytelling’ are very much evident in INCOGNITO. Approximately twenty characters are enacted by a cast of but four: Teddy Boone, Shannon Leigh Webber, Erin Alys and Riles August Holiday. Though I found the nonlinear script difficult to follow, I was never in doubt as to which character each actor was portraying.

Incognito moves shapelessly across space and time, interweaving three independent storylines. One plot focuses on the pathologist who performed the autopsy of Albert Einstein. In doing so he extracted Einstein’s brain, which he stored variously in the trunk of his car, in the basement, and in a jar of formaldehyde. I was unable to discern exactly why he did so or what purpose he intended for this heirloom; presumably he simply wanted to have it, not necessarily use it. Anyone who shops on Amazon as zealously as I do will understand this. Contiguous plots involve Einstein’s descendants, whose views on this management of their august ancestor’s residuum range from horror to enthusiastic endorsement.

It's my private hypothesis that one factor supporting the cast’s proficiency at managing multiple roles is the broad variety of skills each of them brings to the stage.  Shannon Leigh Webber, for example, not only acts herself but also teaches drama in primary schools (which sounds like fun to me, though I appreciate that not everyone will share this view). Erin Alys is an actor, an intimacy director and an educator, while also a stunt performer and fight director, focusing on found objects and unarmed combat [reading this, I couldn’t help but wondering if she works with Babes With Blades]. My companion and I were both deeply impressed by the actors’ expertise at playing several very different roles.

The production team was also superb. Designers of Costume (Kasey Wolfgang), Lighting (Jack Goodman), and Sound (Alex Kingsley), with scenic designer Marcus Klein, cooperated seamlessly to fashion a smooth professional production. I especially admire Stage Manager Joey Bluhm’s backstage prowess; there was often less than five seconds between scenes, with actors streaming onstage from all sides in total darkness. I’ve never been a Stage Manager, but it’s my naive belief that this sort of opuscule [great word, huh? I do so love words!] is a Stage Manager’s nightmare: a small cast, playing many characters, entering a vacant stage through disparate portals … oy!  How does one keep track and be sure everyone is where they need to be when they need to?

I said a ‘vacant’ stage; far from disparagement of Scenic Designer Klein’s proficiency, I am, rather, commending their restraint.  Dozens of props, furnishings, amenities and accoutrements could have been used, but Klein chose minimalism:  just two straight chairs … and a table? Was there a little table? I don’t remember … and that is, to me, a huge accolade; one should remember what took place on the stage rather than what was placed there.

Tin Drum Theater company was formed by Steve Needham and Jason Palmer, who are also Producer and Director of INCOGNITO, respectively. This sort of ‘inbreeding’, characteristic of Chicago’s ‘black box’ theatres, is, in my view, a strength. Theater is intimate by its very nature, with cast and production team enriching one another as they collaborate and interact. Though some may argue against such endogamy in the creative process, it is my view that diversification can only assist with the legion of elaborate procedures necessary to bring a show from script to stage.

Starlings are used in INCOGNITO as poetic symbols. Each individual bird communicates with just a few neighbors, yet together they form vast, seemingly choreographed, flights. In this context, starlings represent the illusion of free will and the fluidity of identity: neither can be formed in isolation, but solely through connection with others. The Director’s Note states: Even if we are shaped by memory, emotion, and electrical impulses, we are also shaped by choice, by connection, by the stories we live and the love we give’, concluding, ‘Yes, you are a figment of your own imagination’. I think that’s tres cool.

INCOGNITO is not for everyone; I don’t recommend it for either your kids or your grandparents. If, however, you would like to be ‘challenged, provoked, and inspired’, INCOGNITO by Tin Drum Theater is definitely for you!

Playing through August 3 at Theater Wit, 1229 W Belmont

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

Do we ever really know what someone is going through? We devour what people create, savoring the beauty in their art; we read the words they write, feel the emotions they convey, listen to the music they play, but do we really know what is just beneath the surface? One is left asking this question after viewing the masterpiece that is Twisted Melodies now playing at Northlight Theatre.

Flashback to 1979, when singer and composer Donny Hathaway was a soul music icon, known for R&B hits and his duets with Roberta Flack. Twisted Melodies is a mesmerizing one-man show that immerses us in a day with the brilliant artist, who seeks solace in the music that has always been his salvation. Powerful renditions of songs like “More Than You’ll Ever Know,” “The Ghetto,” and “The Closer I Get to You,” illuminate the enduring power of this talent. Torn between inspiration and his ongoing inner struggle, Hathaway grapples with his life in a gripping performance by Kelvin Roston Jr.

Unlike jukebox musicals that celebrate the life and music of the artist it portrays (think Jersey Boys about the Four Seasons or Just In Time about Bobby Darin), Twisted Melodies offers a new approach to viewing Hathaway’s life and career. We’re with Donny as he isolates in a hotel room, recording music. We learn about his life through captivating stories told from the first-person perspective. We hear his music sung by Hathaway as he recalls the people or events in his life that inspired the songs. We experience, even momentarily, what Donny must have experienced in his life, living with schizophrenia with visual distortions and haunting voices. The first-person storytelling of Hathaway’s life reveals the man behind the artist we know, his personality, his solace, and his demons. The play is not only an homage to the singer-songwriter’s life. “Twisted Melodies is a labor of love,” says playwright and performer Kelvin Roston Jr. “It’s much more than a solo jukebox musical. I chose Donny Hathaway as my muse for his amazing music and musicianship, yes, but also because of his struggle with paranoid schizophrenia. We generally ignore, make excuses for, hide, or even make fun of those dealing with mental illness. Donny Hathaway left an incredible amount of himself and his struggles in the lyrics he wrote, the notes he played, and the tones he bent and swelled with as he sang.”

Twisted Melodies perfectly captures the beauty and struggle of the late artist, and Roston Jr. belts Hathaway’s ballads with such reverence and respect, creating beautiful harmonies and scales that tickle your brain as beautifully as Roston Jr. tickles the ivory, playing throughout the one-man show. Roston Jr.’s tones and range capture the fire and the fury of Hathaway’s genius, challenging the audience to see beyond the notes and see what the artist was going through on that fateful night in 1979. Donny Hathaway tragically passed away at only 33 years old in a rumored solo exit performance of his own. The Chicago-born artist left behind a legacy that influenced or inspired dozens of modern-day artists, including Elton John and Amy Winehouse. Hathaway was even named the 49^th-greatest singer of all time in a 2010 list published by Rolling Stone Magazine.

It's tragic how we often don’t know what someone is going through until after the person is no longer with us, particularly when it comes to something like mental health. But what a blessing it is to know that a story like Twisted Melodies can help to remind us that we’re all going through something. Like Donny Hathaway, we can find our solace, our stories, and ourselves in the things we create, using our art to help others understand what we are going through. Twisted Melodies runs through August 10^th at Northlight Theatre (9501 Skokie Blvd, Skokie). Tickets for Twisted Melodies are available at www.northlight.org

Chicago - Jackie Taylor, the author of more than 100 plays and musical bios, thousands of poems, a screenplay, and two books, has been selected as the Chicago Literary Hall of Fame’s 2025 Fuller Award recipient in honor of her lifetime achievements. Taylor will be celebrated at a ceremony on Monday, October 20, at her Black Ensemble Theater (4450 N. Clark Street). Registration is open. Presenters will include Jeff Award-winning director Daryl Brooks, UIC Associate Professor of Theatre Lydia R. Diamond, poet and author Haki Madhubuti, and Harvey Young, Dean of the College of Fine Arts at Boston University. The American Writers Museum is a major partner in the program. 

The Chicago Literary Hall of Fame selection committee consisted of past Fuller Award recipient Patricia Smith, Linda Bubon, Yoland Nieves, Ugochi Nwaogwugwu, and Keehnen Owens. During the stringent selection process, the committee considered dozens of outstanding candidates, evaluating the quality of their literary output, the strength of their Chicago connections, and their greater contributions to Chicago’s literary life.

Born August 10, 1951 in Chicago, Taylor was raised in the Cabrini Green housing project. Taylor founded Black Ensemble Theatre in 1976, a year after she made her Hollywood acting debut in the now classic film Cooley High.  

Taylor majored in theater with an education minor, and after earning her B.A. from Loyola University in 1973, she began working with Free Street Theater. In addition to her acting break in 1975's Cooley High she produced and starred in television and film - as well as in theatrical productions with such companies as the Goodman Theater, Organic Theater and Victory Gardens Theater. Early in her career, Taylor concluded that Hollywood’s depiction of African Americans would continue to be largely negative, which led to her to found Black Ensemble Theater, according to her biography at History Makers. Since the start, Taylor has written, produced, and directed stories that cut across racial and cultural lines. Her mission, she says, is to bring people together.

Among Taylor’s many writing credits are The Other Cinderella, The Hoochie Coochie Man: Muddy Waters (co-written with Jimmy Tillman), The Marvin Gaye Story, The Jackie Wilson Story, All In Love Is Fair, I Am Who I Am (The Story of Teddy Pendergrass), Don’t Make Me Over (The Story of Dionne Warwick), Don’t Shed A Tear (The Billie Holiday Story), Somebody Say Amen, At Last: A Tribute To Etta James, and Precious Lord Take My Hand. She has had featured roles in several major films, including Hoodlum, Barbershop 2, The Father Clements Story, Losing Isiah and To Sir With Love: Part 2, and worked with such greats as Sidney Poitier, Laurence Fishburne, Vanessa Williams, Bill Dukes, Glynn Thurman, and Lawrence Hilton Jacobs.  

In 2010, Taylor broke ground on a new 20-million-dollar Black Ensemble Theater Cultural Center, which opened on November 18, 2011. The Free To Be Village development, introduced in 2023, aims to expand the existing campus, in part to offer affordable housing to artists in the community and establish an education program. The project’s goal is to reinforce and grow the theater’s mission of reducing inequality in the arts. 

Taylor earned a master’s degree in education and receive an honorary doctorate degree from DePaul University. She has worked for the Chicago Board of Education, the Illinois Arts Council, and Urban Gateways. Through the years, Taylor has taught every grade level from kindergarten through major universities. She served as president of the African American Arts Alliance and is on the board of the Betty Shabazz International Schools.

The City of Chicago honored her by naming a street after her, Jackie Taylor Street, and Governor Pat Quinn declared March 27, 2009, Jackie Taylor day in Illinois.

Taylor’s many awards include a Special Jeff Award for her cultural contributions and a League of Chicago Theater Lifetime Achievement Award. She has been named as an outstanding performer, director, and business woman by dozens of media outlets, including New City, Chicago Defender, Today’s Chicago Woman Magazine, Chicago Magazine, Chicago Sun-Times. She and her work have been featured in Jet, Variety, the New York Times, The Washington Post and Essence.

Registration closes when the theater reaches capacity.

It’s refreshing to know there are lesser-known Stephen Sondheim and James Lapine collaborations to continue exploring. While ‘Into the Woods’ and ‘Sunday in the Park with George’ may endure as musical theatre opuses, later works like ‘Passion’ showcase these two brilliant artists’ legacy together. The relatively young Blank Theatre Company revives the 1994 musical at Greenhouse Theatre Center under the direction of Danny Kapinos.

Sondheim was inspired to conceive ‘Passion’ after seeing the 1981 Italian film ‘Passione d'amore’ which is itself an adaptation of an 1869 novel ‘Fosca’. With all those Italian titles, it’s no surprise that Sondheim’s ‘Passion’ is a chamber opera with nearly all the dialogue sung-through. 

Themes of unrequited love, jealousy and despair along with a soaring score stir emotions in this one-act operetta. ‘Passion’ follows a young army general Giorgio (Evan Bradford) who is carrying on an affair with Clara (Rachel Guth) until he’s unexpectedly transferred where he meets the sickly Fosca (Brittney Brown). Fosca is the cousin of Giorgio’s commander, but it’s the doctor of the troop who suggests Fosca’s health would improve if Giorgio spent time with her. The only catch? She’s strikingly ugly. Fosca’s obsession with Giorgio deepens despite the fact that her fiery spirit is worsening her health.

Blank Theatre’s production strips this show down to minimal staging relying instead on the superbly talented cast. Right off the bat both Evan Bradford and Rachel Guth stun with their first duet. The intimacy of the space ups the emotional impact as the cast also performs seemingly without mics. Brittney Brown as Fosca is a revelation, though it would be untrue to describe her as unattractive. Her powerful voice is every bit as convincing as her heartbreaking performance in the role of the rejected lover.

As Giorgio gets closer to Fosca, he begins to resent her clinginess, but his sense of duty prevents him from entirely casting her off. Through letters and short visits, Giorgio’s passion for Clara fizzles. It’s in these scenes Rachel Guth’s beautiful voice and pathos-inducing performance really shine.

‘Passion’ has all the elements of great classic opera. The setting is somewhat historically ambiguous; the story is a little strange and the intense emotions all work together to make for an enthralling evening at the theatre. In fact, original Broadway audiences are said to have behaved in a way typically only seen in opera theaters. Evidently some 1994 theatregoers became so enraged by Donna Murphy’s Fosca antics they roared from the balcony, “Die already!” If a show can elicit that kind of response, it’s got to be doing something right.

If you’ve never seen ‘Passion’, Blank Theatre’s production is a great way to experience it for the time. Between the haunting set created by Hayley E Wallenfeldt and the cast of gorgeous voices, Sondheim and Lapine’s strange baby deserves its flowers.

Through August 10 at Greenhouse Theatrer Center 2257 N Lincoln Avenue. 773-404-7336

MadKap Production’s A Funny Thing Happened on the Way to the Forum bursts onto the Skokie Theatre stage with rollicking energy and infectious chaos, blending sharp wit with rapid-fire comedy. Featuring the unforgettable music and lyrics of Stephen Sondheim and a book by Burt Shevelove and Larry Gelbart, this timeless gem premiered on Broadway in 1962, echoing the mischievous spirit of ancient Roman playwright Plautus.

At the center of the story is Pseudolus (Ed Rutherford), a crafty Roman slave with one goal: to earn his freedom. His scheme? Help his lovestruck young master, Hero (Tyler Lord), win over Philia (Emily Lewis) - a sweet but scatterbrained courtesan. But things get complicated fast when Philia is revealed to be promised to the bombastic soldier Miles Gloriosus (Max Perkel), unleashing a torrent of mix-ups, slapstick mayhem, and frenzied farce that barrels forward with dizzying speed.

The musical opens with the vibrant anthem “Comedy Tonight,” setting a lively tone of vaudevillian mischief and fast-paced fun. What follows is a cavalcade of quirky characters—nervous Hysterium (Andrew Buel), domineering Domina (Erin Renee Baumrucker), and perpetually lost Erronius (Gayle Starr) - each fueling the frantic, farcical momentum with their own brand of comic mayhem.

The show’s lasting popularity has sparked numerous revivals and a 1966 film adaptation featuring Zero Mostel, reprising his iconic role as Pseudolus. Decades later, the musical continues to charm audiences, treasured for its clever humor, classic slapstick, and vibrant theatricality – and now here we are at Skokie Theatre. Afterall, Forum is considered by many as one of the funniest farces ever written.

Though A Funny Thing Happened on the Way to the Forum doesn’t wear its politics on its sleeve, it’s laced with sly irony that lampoons authority and societal conventions. Drawing from Roman farce and vaudeville traditions, the musical uses exaggerated characters and absurd scenarios to expose the folly of rigid hierarchies and cultural norms.

Despite its ancient Roman setting, the musical cleverly reflects the quirks of modern life - its historical backdrop offering just enough distance to satirize familiar themes like corruption, vanity, and societal nonsense without striking too close to home. The production perhaps strikes a different chord with today’s audiences than it did in the 1960s, when it was embraced as a bold and playful revival of Vaudevillian farce. Back then, its irreverent humor and exaggerated characters were celebrated largely for their entertainment value, with little pushback on the underlying themes.

While the show is clearly satirical in nature, modern viewers are more likely attuned to the implications behind its comedic treatment of slavery and the commodification of women. These elements, once played simply for laughs, are now seen through a more critical lens informed by evolving cultural conversations around representation, consent, and power dynamics.

As a result, portrayals of enslaved characters and, in this case, the Courtesans dealt by Marcus Lycus (Daniel Leahy), often prompt deeper discussions about historical context and theatrical intent. This contemporary production tends to lean into the satire rather than soften it, using exaggerated staging and bold casting choices to spotlight the absurdity of outdated social norms.

By doing so, Director Wayne Mell reframes the humor as subversive rather than regressive - honoring the show’s chaotic spirit while acknowledging its problematic aspects. This approach allows Forum to remain a vibrant piece of theatrical history while adapting to the sensibilities of modern audiences.

Skillfully directed, this production masterfully bridges generations of comedy. Mell guides a youthful cast in capturing the sharp, vaudeville-inspired humor that defined the original in the 1960s and ’70s, making it feel fresh and relevant for audiences in 2025. The result? A flat-out hilarious production that hits every sardonic beat envisioned by its creators over six decades ago.

Kudos to Wayne Mell and Producer Wendy Kaplan for breathing new life into this theatrical gem and bringing its timeless wit back to a Chicago stage.

Ed Rutherford is a standout as Pseudolus, delivering rapid-fire humor and showcasing sharp comedic instincts that keep the audience laughing throughout. His portrayal of the fast-talking, quick-thinking slave is both dynamic and crowd-pleasing and he sets the pace well. Paired with Andrew Buel, the two form a well-matched scheming duo, adapting on the fly as their ever-evolving plan meets one hilarious obstacle after another. Their chemistry drives much of the show’s momentum and mischief. Tyler Lord also has his moment in the sun with a beautiful rendition of “Love, I Hear.”

Among a cast filled with talented actors, the trio of Aidan Espinosa, Owen Espinosa, and Mitchell Shaw steal the spotlight with their uproarious turns as eunuchs and Roman soldiers. Their sharp timing, outrageous antics, and expertly executed physical comedy keep the audience in stitches, consistently igniting laughter and applause throughout. They don’t just land their jokes - they launch them.

MadKap Productions really enjoys bringing back the classics (as they did so well with last season’s South Pacific). Look for later popular hits from yesteryear to hit the stage later this season like Pippin, Deathtrap and Company – and why not, they bring them to life so well. 

With plenty of hilarious moments and big song numbers like “Free,” “That Dirty Old Man,” “That’ll Show Him” and “Love, I Hear,’ I highly recommend this theatrical event as a great way to enjoy a “comedy tonight - and speak of tragedy tomorrow” as a soaring musical sure to tickle your funny bone.

MadKap’s A Funny Thing Happened on the Way to the Forum is playing at Skokie Theatre through August 3^rd. For tickets and/or more show information, click here. 

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