Items filtered by date: June 2026

“It’s not us… all this mucking about with our sound.”  

Sunny Afternoon is about many things. This is in so many ways a rock concert – with a score that makes it impossible not to dance and clap along in your seat. It’s vibrant – with a talented design team that simply does not hold back as they bring this musical to life, especially with Costume Designer Miriam Buether’s 60s looks. It’s also joy, with Adam Cooper’s choreography that fills the stage, complete with favorite moves of the decade.

However, at its root, this is the origin story of a rock band. Like so many true stories in this genre, you witness the highs and lows – particularly when the men realize that fame doesn’t quite feel as any of them may have anticipated. As Ray Davies (Danny Horn) frustratingly admits the above on a phone call with his band manager, Larry Page (Sean Fortunato), you may find yourself leaning in, wondering if the group can salvage the heart of their music before it’s too late.

With book by Joe Penhall and music, lyrics, and original story by Ray Davies himself, Sunny Afternoon features the origin story of The Kinks – a British rock band in the 60s. We meet the musicians when they are in essence teenagers – Ray Davies (Danny Horn), Dave Davies (Oliver Hoare), Peter Quaife (Michael Lepore), and Mick Avory (Kieran McCabe). Once they are discovered, their fame skyrockets – with hordes of fans only wanting more with every tour and drop of a new album. Like what many might expect, fame isn’t always easy, and audiences have a front-row seat to the many nuances that can come with that as the story unfolds.

Directed by Artistic Director Edward Hall, Sunny Afternoon is a jukebox musical featuring a number of hits from The Kinks including “You Still Want Me,” “Lola,” “A Rock’n’roll Fantasy,” and “Waterloo Sunset.”  The production showcases a strong ensemble – particularly in the four actors embodying the members of The Kinks. It is not easy to find performers who can not only act the roles, but also play their instruments with a high level of expertise and sing in a way that resembles the original members. To say that the casting was spot-on is an understatement, and from the cheers and applause surrounding me at this performance, it seems fair to say that the audience agreed.

The music alone is a blast, and fans of The Kinks or any rock concert are sure to have a fun night. However, especially for the dedicated theater-goers in the audience, you might find that what really sells the show is the chemistry between the performers at the center.

“Dedicated Follower of Fashion” is a prime example appearing early in Act One. The young band members find themselves in a department store confronting one of the first shifts that they would have to endure on the way to stardom – finding their new look. Their new management tries to force them down a specific path of a classy, formal appearance. However, the men cannot help but turn the experience into something else entirely. Throughout the song, we see them having fun with different looks – joking around with different accessories and making it clear to all involved that they are here for the joy. The audience at this performance was clearly along for the ride – laughing alongside the actors and cheering as they made the number increasingly over-the-top.

The Kinks did not have it easy – and Sunny Afternoon certainly makes that clear. Particularly as the pressures become too much for some of the band members, the story can be hard to swallow. However, much of that is due to the genuine friendship we witness unfold on stage. Hall’s ensemble brings an authenticity that you might just find is impossible not to love.

Stellar casting and a rocking score make Sunny Afternoon a theatrical event that you simply do not want to miss. Whether you are a die-hard Kinks fan or this is your first time experiencing the material, the music alone will leave you wanting more.

HIGHLY RECOMMENDED

Run Time: 2 hours and 30 minutes, with intermission

Sunny Afternoon runs at Chicago Shakespeare Theater (800 E Grand Avenue) through April 27, 2025. See the Chicago Shakespeare Theater website for more information regarding tickets.

Walking into the Harris Theater for the “Trial of Themistocles,” I was expecting something translated from ancient Greek, togas, masks, maybe a chorus, and a scholarly script that would take some work to wade through.

Instead I found the latest installment of a delightful Trials Series produced since 2013 by the Chicago-based National Hellenic Museum on Halsted St. This program is part of the museum’s mission to advance awareness of the foundational contributions Greece has made to world civilization, in architecture, philosophy, mathematics, and—particularly timely—democracy. The Museum’s “Trial” series is actually mock-trials of historic Greek figures conducted by actual Chicago judges and argued by prominent local barristers. The annual event was qualified by the Illinois Attorney Registration & Disciplinary Commission (IARDC) for continuing legal education (CLE) credit. Attorneys attending the event can register for CLE credit on site.

Though scripted in a somewhat light-hearted tone, the “Trial of Themistocles” evokes weighty matters—touchstone societal issues that underpin our mode of government, and our means to maintain a civil society. It was reassuring, even moving, to be among those hundreds in the audience interested in rational thought and with a cosmopolitan, worldly view of history. While we extol the Renaissance and the Age of Enlightenment that followed, these periods were essentially a rediscovery of the wisdom of Greece.

Themistocles was an Athenian citizen, the city where trial by jury originated. He was the military chief who planned Athens’ creation of a large fleet of warships, multi-oared triremes, and led them to victory against the mighty Persian empire at the naval battle of Salamis. As a result, Themistocles’ star rose and he was elected Archon of Athens, the head of the city-state. He was a peoples’ candidate, with more common roots in his family tree, but was not welcomed by the aristocracy.

After he left office, history tells us that political rivals besmirched Themistocles’ reputation, accusing him of collusion with the Persians while leading Athens—even though he had defeated the Persons for Athens’ benefit. His enemies were animated to take him down, and Themistocles was ostracized—another Athenian invention —where he was voted out of town. Themistocles then left for an administrative post in Persia. The Athenians summoned him back to be tried for treason, but in real life he died before the trial took place.

Katerina Alexopoulos (U.S. Department of Homeland Security) questions Themistocles, played by Jonathan Shaboo, as the judges, jury and other attorneys look on in the National Hellenic Museum's Trial of Themistocles

In the “Trial of Themistocles,” hosted by former TV news anchor Andrea Darlas, only two professional actors were on stage: in the roles of Athenian politician and naval leader Themistocles (who died in 460 B.C.E.) played by Jonathan Shaboo; and the witness for the prosecution, Arsenia, played by comedian Megan Goldish. In her day job, she happens to be the Honorable Megan Goldish, a Cook County Circuit Court Judge.

All this was presided over by a panel of real-life area judges, and with a 12-person jury of scholars, lawyers and media personalities from NBC, Axios, WVON, and including Georgia Tasiopoulou, Consul General at the Greek Consulate in Chicago. Though the Trial series is a one-night-only performance, it was filmed by WTTW for later broadcast. The 2016 broadcast of the “Trial of Antigone” won an Emmy for the local National Public Television affiliate.

Our streaming world is filled with police procedurals and legal shows with actors playing lawyers. In the “Trial of Themistocles,” we got a chance to see how the real deal compares with actors, and in their opening arguments, cross examination, and summations delivered by actual lawyers, it turns out they’re as good as the actors imitating them, maybe even better. In the “Trial of Themistocles,” they acquitted themselves very well, as did the judges.

Leading the defense were Patrick M. Collins, a partner at King & Spaulding law firm; Tinos Diamantatos, a seasoned Katerina Alexopoulos, Assistant Chief Counsel for the U.S. Department of Homeland Security. And for the prosecution, Sarah King, president of the Women’s Bar Association of Illinois; and Patrick Salvi II, managing partner of Chicago law firm Salvi, Schostok & Pritchard. For the record, I felt Diamantos gave the best oratorical delivery.

All four judges found Themistocles not guilty, including Justice Joy V. Cunningham (Illinois Supreme Court), Hon. Georgia N. Alexakis (U.S. District Court for the Northern District of Illinois), Hon. Anthony C. Kyriakopoulos (Circuit Court of Cook County) and Hon. Jeffery Chrones (Circuit Court of Cook County). Listening to the judges’ reasoned findings dismissing the charges against Themistocles, it was apparent that their opinions were infused with the master principles enshrined in U.S. law. The 12-member panel of esteemed jurors on stage—composed of civic leaders, academics and media personalities—found Themistocles not guilty by a margin of 11-1. Likewise the audience voted, overwhelmingly for acquittal.

The Museum says its NHM Trial Series “highlights the enduring relevance and value of Greek thought and history.” I couldn’t agree more.

The National Hellenic Museum Has a mission to share Greek history, art, culture and the Greek American story, it also displays its extensive collection of more than 10,000 physical artifacts. Located in Chicago’s historic Greektown neighborhood since 2011, Museum hours are Thursday through Sunday from 10 a.m.-4 p.m. nationalhellenicmuseum.org

*This review can also be found at Theater in Chicago.

All hands on deck Titanic fans! Get ready for a lavishly produced musical that boldly reimagines the Titanic story, navigating it into fresh and unforeseen waters.

The story of the "unsinkable" Titanic is one most of us know well—the ship’s ill-fated maiden voyage on April 14, 1912, ending in tragedy as it struck an iceberg and sank to the ocean's depths. Many are also familiar with the iconic film Titanic, starring Leonardo DiCaprio and Kate Winslet, which, while rooted in historical accuracy, introduced audiences to the poignant love story of Jack and Rose—two young hearts entangled in a passionate romance before disaster struck. But were the events exactly as we’ve been told? According to Celine Dion, who claims to have been there, the story might be quite different.

Alas, Broadway in Chicago and Porchlight Theatre proudly bring you Titanique—a one-of-a-kind musical comedy that's guaranteed to leave you in stitches and thoroughly entertained. Directed by Tye Blue, Titanique is an uproariously funny and gloriously campy musical parody that breathes new, unexpected life into James Cameron's beloved cinematic masterpiece, Titanic. At the helm of this delightfully absurd reimagining is none other than global superstar Celine Dion—or, at least, a larger-than-life version of her. Yes, that Celine Dion! In an inspired twist, Celine barrels her way into the heart of the story, unapologetically seizing control of Jack and Rose's ill-fated romance and retelling it as only she can. Her perspective transforms the tragic tale into a flamboyant celebration of love, loss, and diva-level drama.

But don’t expect a straight retelling! With book by Maria Mindelle, Constantine Rousoull and Tye Blue, Titanique is dripping with outrageous humor, zany antics, and more self-aware silliness than you can shake a life preserver at. This hilarious musical is powered by Celine's legendary hits—including the anthem of all anthems, "My Heart Will Go On"—woven cleverly into the narrative to deliver laugh-out-loud musical moments. Every note and every lyric is infused with heart, hilarity, and that unmistakable Celine flair. Other standout songs include the heartfelt "All By Myself," the captivating "To Love You More," and “River Deep, Mountain High.”

Part parody, part homage, Titanique is a buoyant blend of romance, comedy, and theatrical absurdity that captures the essence of '90s nostalgia while winking affectionately at its audience. It’s a showcase of over-the-top diva brilliance, a love letter to a bygone era, and an experience that is uproariously entertaining with the ridiculous factor cranked up all the way.

Titanique’s Broadway Playhouse run showcases an exceptional all-Chicago cast—and their performances are outstanding.

Let’s talk about show-stopping performances! Clare Kennedy McLaughlin sparkles as Céline Dion, delivering a perfect blend of powerhouse vocals and side-splitting humor. With a flawless mix of diva attitude and quirky charm, she captures Céline's essence in a way that makes her a true standout in this riotous spoof. From her spot-on comedic timing to her ability to belt out those iconic ballads, McLaughlin has the audience roaring with laughter - and cheering for more. Her performance is the heart and soul of Titanique—bold, delightfully campy, and unforgettable.

Adam Fane and Maya Rowe star as Jack and Rose in Titanique at Broadway Playhouse.

Adam Fane shines as Jack, captivating audiences with his charm and comic mastery. Fane’s performance effortlessly enhances the show's playful lampoon of the iconic Titanic tale. With impeccable timing and genuine emotional depth, he brings a delightful balance to his role. As Jack’s love interest, Maya Rowe infuses the role of Rose with vibrant energy, delivering a performance that is both engaging and hilariously on-point. Her portrayal seamlessly complements the show's whimsical and irreverent spirit, showcasing her knack for humor while preserving the heart of her character. Rowe's charm and comedic brilliance make her a standout in this unsinkable production.

The ensemble cast of Titanique is an absolute joy, bursting with energy, humor, and incredible talent in this gut-busting musical comedy. Each performer adds their own unique touch, coming together as a dynamic force that fuels the show’s hilarity and charm. Abbey C. Smith delivers a triumphant vocal performance as Molly Brown, while Lorenzo Shawn Parnell dazzles with his remarkable voice as both The Seaman and the Iceberg. Rob Lindley, as Rose’s mother Ruth, earned some of the loudest laughs of the night, with Adrian Aguilar as Cal and Jackson Evans portraying both Luigi and Victor Garber adding to the show’s irresistible humor.

The scenic and costume design of Titanique is truly remarkable. The neon-lit iconic Titanic staircase draws audiences into a fantastical world that beautifully aligns with the show’s cheeky and whimsical vibe. The costumes are just as outstanding, showcasing a perfect mix of creativity and humor that bring the characters to life in a visually striking way. Together, the scenic and costume design craft an immersive atmosphere that amplifies the charm and playful extravagance of this remarkable production.

Completing the checklist, the Broadway Playhouse in Downtown Chicago offers an ideal venue to immerse yourself in the magic of Titanique. Warm and intimate, the theater offers exceptional sightlines from every seat, allowing audiences to immerse themselves in the performance and feel fully connected to the on-stage magic. 

For a musical comedy, Titanique checks all the right boxes, offering a delightful experience that's worth enjoying again and again. Take the plunge with Titanique!

*Don't bring the little kiddos! There's a good reason the musical's website suggests a 13+ audience. Titanique contains sexual innuendo and adult language.

Performed at Broadway Playhouse through July 13th. For more tickets and/or show information, click here.

*This review can also be found at Theater in Chicago.

THE LISTENERS has undergone several incarnations since the 2021 novel by Jordan Tannahill. It’s been a full-length movie, a TV series’, and now an opera, premiering in New York and now brought to Chicago by the renowned composer/librettist team Missy Mazzoli and Royce Vavrek. This opera, at Civic Opera House, was in all aspects a spectacle.

The first spectacle for me was the videography, designed by Chris Maravich and Sarah Riffle. It not only enhanced the show but actually made it possible for patrons sitting farther back than the Dress Circle to actually see the performers. Solos were performed from a nondescript podium while a huge video showed the artist in closeup. The result was both wonderful and very effective.

[NOTE: This production features an enormous cast and crew; I simply couldn’t wedge them all into my review. The result includes those artists whose work moved me speak – my opinions, which in no way reflect the superb work of artists I neglected to name.]

Throughout the opera I was fascinated by Adam Rigg’s brilliant set. A few scenes – those involving the full company – used the entire stage, but most sets were formed on a revolving stage comprised of two or three separate sets. The huge apparatus could be drawn onto the stage by 2-3 people, and turned to display each new set as easily, while one set faced the rear and was not visible to the audience, allowing Rigg’s team to prepare it for future scenes.

I was entranced by the dancers Rachel Harris and Morgan Reed McDaniel, particularly in their role as Coyote, an apparition that offers solace to the primary Listener, Claire [NOTE:  the critter is called Coyote but, without wanting to be difficult, I maintain that I know a bloody CAT when I see one! slinking about between peoples’ legs and swishing her long tail. But that’s neither here nor there so far as this review.]

Let me give you the bare bones of the story (no spoilers, I promise). The Hum is a phenomenon seen in the UK and the US, particularly in Southwestern desert areas. It’s described variously by individual sufferers, but all agree on the appellation The Hum, a noise, neither loud nor unpleasant but directionless, untraceable, and, worst of all, constant. Claire, an unexceptional American housewife and schoolteacher, is subjected to The Hum and is unable to explain her world of hallucinatory oddness. Her husband Paul (Zachary Nelson) and daughter Ashley (Jasmine Habersham) behave just as you’d expect–initially they treat Claire sympathetically and then, as The Hum and Claire’s anguish persist, they can’t help thinking she’s simply gone nuts.

And indeed, Claire herself feels crazy. Is it all in her imagination?  Could The Hum be a murmur of dissatisfaction with her ordinary life? It’s impossible to explain. She believes herself alone, the only person that hears it … until she consults her high-school students. Here she strikes gold: one student hears it too! This naturally creates a bond between Claire and Kyle (Jonas Hacker), and she is receptive when Kyle discovers a group, THE LISTENERS, whose mission is to understand and eliminate The Hum.

Led by the charismatic Howard (Kyle Ketelsen) and his second-in-command Angela (Daniela Mack), THE LISTENERS offers a compassionate environment for Claire and Kyle, a group where strangers pour out their most intimate secrets to each other within about five minutes of meeting (as you do). 

Drawn into this group - are they a cult? What does that even mean? - Claire finds succor after the breakdown of her own family life. Still, questions of power, mental health and explanations for The Hum are raised but never resolved.

Act the Second focuses on the group, THE LISTENERS, As the group grows larger and becomes more ritualistic, the members – who are, after all, basically just folks – begin to assume the conflicts common to large groups:  dissonance between members; jealousy for higher position (e.g. supplanting second-in-command Angela); partisan factions arguing polemics. These squabbles are heightened as members begin to denounce Howard, whose response to the mutineers escalates from disregard to outright hostility. Ultimately Howard appoints himself Lord High Executioner and banishes the dissenters from THE LISTENERS.

The ending is no small thunderbolt, and I’ll not risk spoilers! However, in the year 2025 I’d be remiss not to use this opportunity to explore the phenomenon of CULTS.

‘CULT’ vs  ‘SECT’

Sects are products of internal schism and maintain continuity with traditional beliefs and practices, whereas cults arise spontaneously around novel beliefs and practices.

Wikipedia defines a cult as a social group with socially deviant or novel beliefs and practices. However, the term has dehumanizing associations and by the end of the 1970s the term ‘cult’ was largely replaced in academia with " new religious movement”.

Sects are smaller parts of larger groups and are not necessarily religious. The field of Economics, for example, can be divided into the sect’s ‘capitalist’ and ‘communist’; Psychiatry includes the sects “Freudian’ and ‘Jungian’.     A number of devices are used to define and recognize cults, and to differentiate cults from sects.

Dr. Steven Hassan’s BITE model includes clues for recognizing cults

B for Behavior Control: Promote dependence and obedience in all aspects of life

• Where & with whom you live; appearance
• Regulate eating, drinking, and sleeping
• Exploitation – sexually, financially

I  for Information Control: Deliberately withhold & distort information

• Divide information into Insider vs Outsider
• Demand confession sessions then use that information against you
• Encourage spying on your peers & reporting ‘misconduct’

T   for Thought Control:  Instill Black vs White/  Us vs Them  /  Good vs Evil  thinking

• Only +ve thoughts allowed
• Singing, prayer, chanting to block thought

E  for Emotional Control:  Instill irrational fears – happiness is found only in the group

• Label certain emotions as wrong, evil, sinful
• Promote shame, guilt, unworthiness; threaten family & friends
• Love bombing until you disobey; then shunning

Some scholars have theorized that religiosity and cultic affiliation tend to rise in proportion to perceived uncertainty: the less control we have over our circumstances, the more likely we are to entrust our fates to a higher power. 

This propensity could speak to why cults proliferated during the social and political tumult of the 1960’s, and why levels of religiosity have remained wider spread in America than in other industrialized countries. Americans, it is argued, experience significantly more economic precarity than people in nations with stronger social safety nets. Thus, they’re more inclined to seek comfort and security elsewhere.

This final bit is not necessarily related to my review of THE LISTENERS, but I found it to be an interesting and possibly important thought. Personally, I find the idea uniquely disquieting in April 2025.

The opera THE LISTENERS is also significantly disquieting. I like – in fact I prefer these more sombre and troubled performances, especially as THE LISTENERS features a musically and dramatically brilliant cast and crew. But if you simply want to be entertained by the mellifluent tones of Lyric’s superlative performers, you may prefer another of the masterworks in Lyric Opera’s season

RECOMMENDED

THE LISTENERS plays at Lyric Opera of Chicago through April 11  

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

I’ve reviewed a number of shows at Open Space Arts (OSA) – I love the place – so I’m familiar with OSA’s attributes: unique productions that battle antisemitism and homophobia with art; premiere plays by previously-unknown writers; small, intimate venue; and, most of all, incredible talent both on- and off-stage.  it’s been ten years meets all these criteria.

Cesario Tirado-Ortiz is a playwright, actor, singer, producer (and, no doubt, pastry chef and bricklayer!), and it’s been ten years follows his tradition of telling queer stories that are not necessarily about being queer. Director Teri Talo is an actor making their directing debut with it’s been ten years, finding in this new role a chance continues using art as social remonstration.

The story is one of trauma, terror, and murky uncertainty. Ten years ago, four kids faced life-threatening (but unknown) horrors, which each of the four responded to in different ways. Allison (Noah Hinton) fled; Maude (Julia Toney) killed the perpetrator (who happened to be their brother); and Betsy (Alexis Queen) developed an … atypical eating disorder.  

Maude is ostensibly the most damaged in the group, and only with great reluctance do they agree to their former lover Betsy’s idea for group healing. Betsy brings Allison and Maude to a group retreat at a remote campsite, run by ‘therapist’ Alex Marusich, whose incompetence only begins with muddling pronouns … but that’s a significant problem with this group, as only Betsy has retained her cis-gender. Gender is a conspicuous uncertainty in it’s been ten years, but it’s by no means the most pivotal.

We never learn exactly what the original traumas entailed; we don’t know (though we can speculate) why Maude and Betsy are estranged; and hey! there were four survicors of the original trauma. Where – for that matter, who – is the fourth? Sam (Alex Marusich) doesn’t appear until late in the action, and his arrival is neither expected nor welcomed. The other three suspect that Sam must have done something infamous in response to their ordeal [whatever it was]. It must be pretty heinous to top Betsy, who witnessed the murders of her cheerleading squad, then ate them.

This seething agglomeration of distress is roused by a fortuitous thunderstorm, which not only provides appropriate auditory context (sound design Kiera Battles) but knocks out the camp’s electricity, so the remainder of the action is lit by lightning flashes (lighting design Lex Newman). Video clips (Shane Hogan) provide glimpses of the characters’ past lives, and production stage manager Mary Dixon brings it all together in this dark, cramped, rather spooky basement venue – perfect for this tale of horror, desolation and self-recrimination.

it's been ten years since everybody died plays at Open Space Arts through April 6

*Extended through April 19th

Recommended!    

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

In Definition Theatre's production of "Splash Hatch on the E Going Down," Kia Corthron's 1997 work feels unnervingly relevant in 2025. Under Cheryl Lynn Bruce's incisive direction, this story of environmental racism and maternal health transforms from a Clinton-era critique into a mirror reflecting our ongoing, unresolved struggles with environmental justice—struggles that have only become more pronounced in the wake of the Flint water crisis, Hurricane Katrina, and the toxic train derailment in East Palestine, Ohio.

The play revolves around Thyme (Jada Jackson), a pregnant teenager whose self-taught passion for environmental science serves as both her armor and her cross to bear. Jackson infuses raw authenticity into Thyme's arc, as we watch her transform from an idealistic eco-warrior into a young woman confronting harsh realities. Her scenes with Jabari Khaliq, who embodies the role of her 18-year-old husband Erry, are particularly memorable. Khaliq brings a delicate balance of youth and forced maturity to his performance. His natural, unaffected style meshes perfectly with Jackson's intensity, creating moments that pulse with teenage vitality while tackling grown-up challenges. When they share the stage, their connection feels genuine rather than performed – two kids trying to navigate an adult world with nothing but determination and each other. This chemistry transforms what could have been preachy material into something deeply human and affecting.

Bruce, known for her work in Chicago theater, skillfully balances intellectual and emotional elements in Corthron's complex play. Rather than getting lost in scientific data about lead poisoning and environmental racism, she reveals the human story underneath. Through subtle directing choices—a mother's nervous touch, children's fading laughter, Thyme's increasingly desperate monologues, Bruce transforms statistics into lived experiences. This approach feels especially relevant in our post-Flint era, where lead poisoning's effects are no longer theoretical but real tragedies affecting American communities. The production reminds us that every statistic represents actual people, children, mothers, and communities—whose stories demand our response.

The supporting cast transforms this environmental drama into a richly layered exploration of community and health disparities. As Ollie, Stetson Pierre brings nuance to the role of Thyme's truck-driving father, portraying a man caught between providing for his family and confronting the environmental hazards he's learned to accept. Quenna Lené Barrett, a seasoned Chicago performer and educator, infuses Marjorie with quiet strength, while Rita Wicks delivers an outstanding performance as Shaneequa, Thyme's equally pregnant best friend with an usual condition. Together, these characters weave a powerful narrative about Black maternal health that extends far beyond one family's story, reflecting stark realities about healthcare access in America. Their interwoven experiences echo through recent headlines about water crises and pandemic outcomes, making the play's message devastatingly timely.

Brian Sidney Bembridge's set design, though technically impressive, failed to capture the cramped intimacy of a Harlem apartment. The oversized space worked unexpectedly well as a neutral backdrop, allowing Willow James's sound design to truly shine. James created an immersive urban atmosphere through layered audio: subway rumbles, hospital monitors, and children's distant laughter. These sounds, more than the set itself, anchored the production in its Harlem setting.

The play’s educational aspects, which could feel like public service announcements in less skilled hands, become integral to character development here. Thyme’s knowledge isn’t just information dumping; it’s her way of trying to control an increasingly uncontrollable situation. Her scientific facts become a form of incantation, as if understanding the problem thoroughly enough might somehow solve it. But as history has shown—from Flint to East Palestine—knowledge alone is not enough.

"Splash Hatch on the E Going Down" at Definition Theatre is a reckoning. It challenges us to consider how many of the environmental and healthcare issues Corthron identified in the ‘90s remain unresolved. Under Bruce’s direction, this production transforms a historically significant play into an urgent contemporary conversation, proving that sometimes the most powerful way to look forward is to look back with clear eyes. It’s about TIME!

Recommended

When: Through April 13

Where: Definition @ 55th, 1160 E. 55th St.

Running time: 1 hour, 45 minutes

Tickets: $25 - $35

definitiontheatre.org

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

I’m not holding back—Copley Theatre’s latest offering, The 25th Annual Putnam County Spelling Bee, is an absolute winner! I’ve seen this delightfully offbeat musical brought to life at various theaters, but Copley’s rendition? It’s absolutely “F-A-B-U-L-O-U-S.” This production earns its place at the very top, possibly stealing the crown altogether.

And let’s take a moment to appreciate the venue! My inaugural visit to Copley Theatre was a treat in itself. Not only did I get to enjoy the hilarious, heartfelt magic of Spelling Bee, but I also had the chance to soak in the sleek elegance of this modern gem. With its stunning aesthetics, thoughtful conveniences, and intimate yet impeccably crafted stage setup, Copley has created an experience that’s as polished as it is inviting.

The 25th Annual Putnam County Spelling Bee is a brilliantly funny and deeply touching musical that captures the hilarity and heartache of middle school life through the lens of a high stakes spelling competition. With a sharp and witty book by Rachel Sheinkin and an engaging score by William Finn, the show offers a perfect blend of humor, warmth, and unforgettable musical moments.

At its core, the story introduces us to six wildly different young spellers, each of whom brings their own unique quirks, struggles, and aspirations to the stage. There’s Leaf Coneybear (Ben Broughton), the whimsical underdog with a heart of gold who’s as surprised as anyone to have qualified for the competition. Then there's Logainne Schwartzandgrubenierre (Ann Delaney), a driven and socially conscious overachiever with a lisp and two doting dads rooting her on. And, of course, William Barfée (Teddy Gales) —brash, brilliant, and armed with his hilariously unconventional “magic foot” spelling strategy that leaves both contestants and audiences in awe. Other spellers include the pressure-laden Marcy Park (Shelbi Voss), an overachiever who excels at everything; the sweet yet neurotic Olive Ostrovsky (Elizabeth Stenholt), who’s grappling with absent parents; and the slightly obnoxious, juice-box-loving Chip Tolentino (Nic Dantes), facing the realities of puberty at an inopportune time.

The competition itself is overseen by an equally eccentric trio of adults: Rona Lisa Peretti (Veronica Garza), a former Bee champion turned upbeat host; Vice Principal Panch (Jason Richards), whose tightly wound demeanor hides his hilariously chaotic tendencies; and Mitch Mahoney (Naphtali Curry), the “comfort counselor” on parole, tasked with handing out juice boxes to eliminated contestants.

While Spelling Bee unfolds with plenty of laugh-out-loud moments—enhanced by improv comedy and unexpected audience participation — the musical also delves into poignant themes. Beneath the humor lies a heartfelt exploration of identity, resilience, and the awkward beauty of adolescence. Each character’s journey speaks to the universal struggles of finding one's place in the world, making the show deeply relatable to audiences of all ages.

Highlighting the show’s standout performers is easy — it's the entire cast, hands down! Every single member of this ensemble is outstanding – and I truly mean that. Each spelling bee contestant shines with their own unique moments to revel in - and each gets plenty of big laughs – Gales, Delaney, Broughton, Voss, Stenholt, Dantes – all of them are terrific! As for the hosting adults, Garza as the charismatic event host and Richards as the stone-faced VP with a penchant for tossing out challenging words make a hysterical duo. Curry as the competition's "comfort counselor," also steals the spotlight in several scenes.

Shelbi Voss (front) is the overachiever, Marcy Park, in The 25th Annual Putnam County Spelling Bee.

Wonderfully directed by Stephen Schellhardt, the magic of Spelling Bee truly shines in many standout moments that follow the company’s opening number – a fresh and vibrant take on the show’s title song. Shelbi Voss dazzles as she command’s the stage with “I Speak Six Languages,” capped off with Music Director Kory Danielson’s own energetic and uniquely upbeat spin on the ending. Then there’s the stunning trio of Elizabeth Stenholt, Veronica Garza, and Naphtali Curry, who deliver a breathtaking showcase of vocal mastery in their emotionally charged performance of “The I Love You Song.” And Nic Dantes brings the house down with the hilariously awkward and unforgettable number “Chip’s Lament,” riotously portraying the character’s woes after a... let’s call it “untimely distraction” during the competition. These moments, and soooo many more, make this production soar.

With its clever writing, charmingly oddball characters, and emotionally resonant storytelling, The 25th Annual Putnam County Spelling Bee proves that even something as seemingly mundane as a spelling competition can be transformed into a magical, uproariously funny, and deeply moving theatrical experience.

Also striking in this very funny and heartwarming musical were the details in set of the high school gymnasium and the overall show production and choreography. When you put it all together, audience members get an intimate, next-level theatre experience.

For those unaware, Copley Theatre (part of the Paramount Theatre family) is nestled in the heart of downtown Aurora. This 165-seat gem stands as an inviting and contemporary performance venue that really delivers, thanks to its recent extensive renovations, elevating it to a cutting-edge space designed for captivating and thought-provoking productions. Copley Theatre is also celebrated for hosting the Paramount Theatre's BOLD Series, a carefully curated lineup of productions that showcase a blend of timeless classics and modern works meant to inspire, challenge, and entertain. The recent upgrades also introduced an elegant lounge and bar area, adding a touch of sophistication and comfort to the theatergoing experience. I feel I can safely say that, whether you're an avid theatergoer or exploring the performing arts for the first time, Copley Theatre promises an enriching and memorable journey into the world of live entertainment.

See this show! The 25th Annual Putnam County Spelling Bee is being performed through April 27^th at Copley Theatre located at 8 East Galena Boulevard in Aurora. Tickets are in the $55 range and the show’s running time is two hours including a fifteen-minute intermission. For tickets and/or more show information, click here.

Very highly recommended!

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

Don’t be deceived by the title.  The phrase “lifespan of a fact” sounds about as dry as the Mojave Desert and just a mite confusing.  But, as Glenview’s Oil Lamp Theater’s current stage production proves, those knee jerk perceptions turn out to be completely absurd.  Instead, its The Lifespan of a Fact is about as engrossing and entertaining as anything you’ll find on the big screen, a streaming service or another theatrical stage.

Adapted from a 2012 book of the same title, the play re-enacts the fiery real-life interplay between a writer and his fact checker about a magazine article concerning suicide in Las Vegas. A sixteen-year-old boy, Levi Presley, jumped from the Stratosphere Hotel in 2002. The author writing about his death, John D’Agata, used his piece to talk more broadly about the scourge of suicide and its prevalence in Vegas.  Jim Fingal was the fact checker assigned to him by the magazine publishing his essay.  Together, they would eventually co-author the book, The Lifespan of a Fact, revealing the laborious and harrowing process of ensuring the preservation of truth remains the cornerstone of journalistic practice. Derived from the book, Oil Lamp’s standout presentation of the play, which debuted in 2018, brings that process blazingly to life.

It starts innocently enough, slathered as it is in the hallmarks of high stakes corporate urgency. Magazine editor Emily Penrose (Marianne Embree) needs a fact checker for an article by a highly regarded writer known to take creative liberties with his submissions. She taps a young, eager and very bright recent Harvard grad, Jim Fingal (James Wheeler), for the job.  He’s got three days to make sure every detail is accurate and if they’re not, make sure they are by Monday. Fingal assures her he’s got this.  Not only does he carry the Harvard stamp, he reminds her he also worked on the college’s vaunted newspaper, The Crimson.  After reviewing his strategy with her, he’s flushes whatever plans he had for the weekend and plunges into his task.

Quickly noticing discrepancies in what the author stated and what was fact, he queries her about how best to address the conflict.  High ranking editors in New York’s media empires don’t usually have time for the tedium of minutiae and she recommends he call D’Agata himself for clarifications or corrections.  With that recommendation, she’s unwittingly introducing dynamite to a flame.

So driven is he to meet his commitment, Fingal hops a plane to Vegas, uninvited and uninstructed, to meet with the author. From moment one, Wheeler as Fingal fills his role so completely you have no reservations cheering his conviction, even if he is a bit top heavy in the sanctimonious and ego departments.  The first has a lot to do with who he’s dealing with.  He and D’Agata, splendidly played by Tim Walsh, have opposing views on the pliability of journalistic tenets.  D’Agata doesn’t even want to call the piece he submitted an article.  He prefers to reference it as an essay, something much more amenable to creative license.  As interested in the feel, texture and aesthetic resonance of his writing as he is in its truth, D’Agata believes some facts, or a portion of the core components of truth, can be sacrificed to the art of writing.  Neither the editor or the fact checker questions the beauty or power of the piece D’Agata has written about the young boy’s death, but they don’t want a compromised truth to be its cost. With two colossal egos at war, the clashes between the two men become titanic and, superficially, hugely comical.  Director Elizabeth Mazur Levin’s nimble sense of pacing keeps anticipation on a steady boil and the scrappy, often scintillating dialog, bullet train fast.   Jeremy Kareken, David Murrell and Gordon Farrell adapted the book for the stage and deserve extravagant praise for how effectively they make the would-be arcane so deliciously palatable.  

Although the play’s beginning transpires in the blank sterility of a New York office building, the bulk of it happens in D’Agata’s Las Vegas home.  There, Ellen Markus’s scenic design gives a sobering view of what life as an acclaimed and respected feature writer might look like.  It’s not an enviable or tempting picture.  Rather it’s quite modest and absent of anything that suggests indulgence or noticeable luxury.  D’Agata informs the fact checker that he lived there with his mother until she passed away and confirmed he also teaches at a local university in Las Vegas.  It’s the type of solitary existence that fosters contemplation.  And it also seems to be an environment where convictions easily harden. 

In a desperate attempt to salvage a written work she hopes will be a part of her legacy at the magazine, the editor, Penrose, eventually ends up in Vegas, too.  As the three pick the article/essay apart, evaluating the import, significance and intrinsic criticality of each factual element, you sense the gravity of what they’re attempting to do.  As much as Fingal the fact checker abhors it, they’re “negotiating” on what and how information will be relayed in D’Agata’s story.  How truth, as they collectively agree to define it, will be expressed.   The process is quiet, reasoned and as gripping as watching the deliberations of a “trial of the century” live and in-person. 

It would be terrific if seeing the play does what the artistic team behind the production would like it to do, generate conversation about the relationship between truth, facts and storytelling.  But if it doesn’t, The Lifespan of a Fact will make you think about all those things more intently, more actively and, in essence, leave you a changed person.  The acting, directing and production value just happen to push the entertainment quotient sky high. 

The Lifespan of a Fact

Through April 13, 2025

Oil Lamp Theater

1723 Glenview Road

Glenview, IL  60025

https://www.oillamptheater.org/mainstage-productions/the-lifespan-of-a-fact

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

Walking into Windy City Playhouse, audiences are immediately transported to somewhere new. Scenic Designer Kevin Rofls fills the space with trees, branches, and flowers – drawing the audience into the story as soon as they enter the space. Lighting Designer Trey Brazeal highlights the room in a mix of various shades of blue, creating a somewhat hazy atmosphere. The shadows hit the tree branches and rocks just right, also providing an air of mystery. Audiences are immersed into a space of wonder.

The Winter’s Tale is about a number of things. There’s heartbreak and betrayal. There is jealousy and trickery. There’s reconciliation and forgiveness, as well as the test of time. Surrounding all of these storylines is one of magic and love – with an exploration of how the heart can bring us to do some dangerous, but also some beautiful things. The design team creatively collaborates to draw audiences into that enchanted world – a space where anything can happen. Particularly when combined with live music, you might just find yourself leaning in as you become absorbed in the dark romance.

Written by William Shakespeare, The Winter’s Tale follows King Leontes (Michael Stejskal). When he falsely accuses his wife, Hermione (Andrea Uppling) of having an affair with his best friend, King Polixenes (Raul Alonzo), a series of unfortunate events are spurred into action. Hermione is arrested, causing their young son, Mamillius (Jennifer Agather) to die due to distress. The King and Queen’s baby girl is stolen away for safety, and Hermione barely makes it through her trial. As with so many Shakespearean stories, all turns into chaos, and the remaining heroes are eventually left to pick up the pieces and see what may be worth saving.

Directed and adapted by Charles Askenaizer, the ensemble as a whole is quite strong. The Winter’s Tale is one of Shakespeare’s pieces that does not quite fit. There is love, but it is not technically a comedy. There is death, but it is not quite a tragedy. The story moves through the highs and lows of the genre and the actors bring that to life with ease – in particular, Uppling as Hermione and Stejskal as Leontes. Shakespeare does not make it easy for these performers – with a relationship that pulls a 180 within minutes as Leontes becomes lost in jealousy and rage. However, this duo approaches the emotional complexity with grace and certainly keeps the audiences on their toes – wondering what twist or turn may be thrown into the relationship next.

As much as The Winter’s Tale handles heavy matters of tragedy, the production also carries what some might find to be much needed moments of levity. Sam Nachison’s Autolycus is a prime example - appearing early in Act 2. Autolycus steals from an unsuspecting Clown (played by Kyle Quinlivan - with a sweet, unassuming innocence), and Nachison turns this into a game with the audience. With each piece of clothing Autolycus tricks the poor man into removing, or coin purse that the Clown unknowingly hands over – Nachison throws a little wink or gesture to the adoring crowd. His performance elicited uproars of laughter, and even cheers as the thief’s tactics became increasingly over-the-top.

With a stunning design and strong ensemble, The Winter’s Tale is a night of romance and wonder. 

RECOMMENDED

Run Time: 2 hours and 45 minutes, with intermission.

The Winter’s Tale runs through April 20, 2025 at Windy City Playhouse – 3014 W. Irving Park Road. For tickets and information, see the Invictus Theatre website.

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

Going into “La Bohème” with little knowledge of Puccini’s masterpiece, I was just a naive theater-goer seeing it fresh at its opening Saturday night at Chicago’s Lyric. It is beautifully directed by Melanie Bacaling - striking massive two-story sets and colorful, ever varying crowd scenes. Especially intriguing to me are scenes where we see anonymous action through the muslin curtained windows of shops and apartments, imparting vividly a sense of life in every nook and cranny of the stage.

And all this action atop the magnificent and perfectly polished Lyric Opera Orchestra (conducted by Jordan de Souza), and a libretto by Luigi Illica and Giuseppe Giacosa, that in supratitles projected above the stage renders the original Italian in fresh and very funny English.

Set in wintry Paris in 1888 - the Eiffel Tower is under construction in the backdrop - its plot centers on the love story between the poet Rodolfo (tenor Pene Pati) and seamstress Mimi (soprano Ailyn Pérez), both poor and she suffering from consumption (tuberculosis in modern parlance).

Rodolfo falls immediately for Mimi. And as Ailyn Pérez sings Mimi’s role, I found myself skipping the translation.This transcendentally wonderful soprano, expressing in synchrony with Puccini’s lush score, articulates what is in her heart and mind - no words required - that she has fallen for Rodolfo hard and quickly. Through four acts we see them fall in together, live happily, separate when Rodolfo realizes he is too poor to sustain Mimi, then reunite as she faces her final hours.

But I saw it also the story of two struggling artists - Rodolfo, and his roommate painter Marcello (baritone Will Liverman) living through winter in an underheated flat. Surrounded by their posse of cohorts, they are hungry for love, and also just plain hungry - so a bit like “Friends” but with less resources. (La Boheme is also quite a bit like “Rent,” the 1996 Broadway musical and film adapted from it.)

Juxtaposed and nearly as important as the relationship of Mimi and Rodolfo is the tempestuous on-again off-again relationship of Marcello to Musetta (Gabriella Reyes), an emancipated woman who’s a strident gold digger, but her aggressive demeanor belies a heart of gold. For me, Musetta steals the show. Also notably delightful are two members of Rodolfo’s crew - philosopher Colline (Peixin Chen) and musician Schaunard (Ian Rucker), who are entertaining as actors along with excellent singing.

But the core of “La Bohème” is the music, and these principals are outstanding. The opera also features the 60-person Lyric Opera Chorus, led by Chorus Director Michael Black, plus the Uniting Voices Chicago children’s choir led by Josephine Lee. So the stage is packed.

If you have never seen opera before, Lyric Opera’s “La Bohème” is a can’t miss experience, and comes highly recommended.

Remaining performance dates for La Bohème are March 22, 25, 28, 31, April 3m, 6m, 7, and 12. All performances take place at the Lyric Opera House, 20 North Wacker Drive, Chicago.

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