Items filtered by date: June 2026

Some theatre is so unique that it defies genre, or even creates its own. 'For Colored Girls/Who Have Considered Suicide When the Rainbow is Enuf' by Notzake Shange is considered a choreopoem, a first and only of its kind to appear on Broadway. This pivotal work debuted on Broadway in 1975 and remains as potent today as it was then. Court Theatre's revival, going on now, is directed by original cast member Seret Scott. 

You may be asking yourself what a choreopoem is. As defined by Shange's work, it's a beautiful combination of spoken word poetry, song and dance. While narrative structure is fluid, there is a central storyline flushed out over the 90 minute run. 'For Colored Girls' tells eight black women's stories of urban life in sometimes joyful, sometimes tragic, but mostly empowering vignettes. The characters are identified only by the color of their dress, but are made distinct by their individual voices and stories. 

This piece isn't produced very often as it requires a solid and specific casting. Seret Scott has assembled a stellar cast for her production. Melody Angel as Lyric creates the rhythmic backbone as she shreds an electric guitar. Though all the women in this ensemble are hair-raisingly spectacular, Anji White's performance is truly transcendent. There's a moment near the middle of the show when White takes center stage as Lady in Red. From there on, you cannot take your eyes off her. The final monologue leaves an audience entirely surrendered to both her sensuality and gut-wrenching story. 

'For Colored Girls' is a timeless exploration of black female themes in American life, but perhaps there is no better time than right now to celebrate being other. If you've always wanted to see this piece performed to the best possible standards, don't skip this powerful production.

 
Through April 14 at Court Theatre. 5535 S Ellis. 773-753-4472

Bright Star, the Steve Martin-Edie Brickell show that earned musical acclaim in its New York Broadway run, is destined for a love affair with Chicago for Boho Theatre's producion.

The show opened Saturday like a meteorite, sparks flying as the company marched on stage in powerful harmony for its opening, "If You Knew My Story." Then we hear those clarion chords as Missy Wise strides into view, and into our hearts – in a penetrating soprano sailing above the chorus, tuned to a rapid country vibrato that channels Reba McIntyre, Alison Krause and Tammy Wynette, only more dulcet and beautiful. It makes you cry it is so good. And they are only one minute into the number. Phew!

Maybe in Manhattan Bright Star wasn’t approached just right, because they only liked it - or more likely New York is the wrong market. Bright Star is a serious drama, a timeless morality play and a country music operetta all at once – based loosely on the true story of a lost baby (the Iron Mountain Baby), the emotional toll for those involved, and in this telling, delivering a satisfying ending that brings redemption and healing.

The story covers decades, following teenagers Jimmy Ray (Josiah Robinson) and Alice (Missy Wise) who had a baby out of wedlock and were forced by their families to split, and give up the child. But the flame never died, and the two searched for the child and each other for nearly 20 years. 

While at times the book is flaccid and goes a little astray it does not matter - the story is inherently engrossing, and the songs so beautiful and dramatically expressive they carry the show. Treading carefully to avoid a spoiler, we can say Bright Star is exceptionally well cast, with a knockout performance by Jeff Piermont as Billy, a GI home from WWII and beginning a writing career.

Steve Martin’s hand can be seen in witty scenes, and some colorful, scene-stealing characters – including Daryl (Dwayne Everett) and Lucy Grant (Rachel Whyte), co-workers at the publishing house where much of the action happens.  

Martin and his musical partner Edie Brickell insert the band as a character, fitting for a country-inflected musical. Though the band mostly next to and behind the stage, Hillary Bayley on fiddle and other players appear with the cast at various points. 

We watch the teens become adults. Jimmy Ray is heir to a family fortune and business; Alice gets a degree and becomes a celebrated editor at a prestigious Asheville publishing house – one known for shepherding emerging Southern writers (Eudora Welty, William Faulkner, Zora Neal Hurston, Flannery O’Connor,  etc.). On stage, Wise and Robinson have real chemistry together, making their story even more compelling.

Director and choreographer Ericka Mac knows her way around Chicagoland musical theater (among many credits are Parade and Company at Writer’s Theatre), but this Greenhouse Production is perhaps the most intimate space – and she has made the most of it. Scenic design is by Lauren Nichols and lighting is by G. Max Maxin. Costumes, important to the settings and action, and sometimes changed onstage mid-action, are by Robert Kuhn.

Bright Star is highly recommended. It runs through May 5 at the Greenhouse Theater Center, 2257 N. Lincoln, Chicago.

A wondrous evening of sonorous music awaits you at The Bridges of Madison County. The story was also a 1995 film (Clint Eastwood directed and starred opposite Meryl Streep, who won an Oscar) then was translated into this Broadway musical in 2012 - all based on Robert Waller’s blockbuster 1992 romantic novel – 60 million copies sold worldwide.  

For this show, directed by Fred Anzevino, Theo Ubique’s cozy new cabaret playhouse on Howard Street gives us an unimaginably intimate performance. It is like a jewel box setting for a chamber opera, and features the immensely talented Kelli Harrington - a Broadway bel canto if ever there were one.  

The tale is really a reverie on romantic love, and paths not taken, as the married but lonely Italian-American, Francesca (Harrington) questions her life as an Iowa farm wife with two teenaged children. Her considerate, dutiful but uninspiring husband Bud brought her home as a war bride from a devastated Naples to his Madison County farm – a place as foreign to her roots and soul as the other side of the moon.

While Bud (Carl Herzog) is away at the Iowa State Fair with their teenagers Michael (Christopher Ratliff) and Carolyn (Peyton Shaffer), a National Geographic photographer, Robert Kincaid (Tommy Thurston) rings Francesca’s doorbell seeking directions. It turns out he has recently photographed Naples and happens to bring the issue featuring his photographs of her lost home. This helps triggers a torrid, four-day affair.

The drama unfolds at a leisurely pace. It is a low-key tale of self-reflection, befitting the emotional struggles of the Robert and Francesa as they weigh running away together. Just this side of becoming saccarine, The Bridges of Madison County's underlying story appealed to men and women, as does this show. It analyzes the values of duty and commitment, and where lies the duty of the chivalrous Robert Kincaid and the ultimately faithful Francesa. The lovely, harmonic music by Jason Robert Brown is more tone poems than Broadway numbers - perfectly suited to the remarkable Kelli Harrington, who teaches voice and has a string of Jeff Award honors.

In a class all by herself, Harrington sings and evokes in parallel, like a fine diva – an arched eyebrow, a furtive look, shaking her locks – it’s really quite stunning to witness. The elegant chamber music ensemble led by Jeremy Ramey emphasizes cello, violin, and keyboard. Francesca’s role dominates the musical minutes, with Robert as her partner in emotional upheaval countering with a comparably challenging song book. Tommy Thurston acquits himself admirably, in a complex role. 

Among the standouts were Shaffer and Ratcliff as completely convincing teens who sing wonderfully; and Molly LeCaptain as Robert’s ex Marian (she also plays Francesca’s sister Chiara) – backing herself beautifully on guitar in a solo. Plaudits to Kate Harris, whose performance I loved as neighbor Marge, always supportive, not too intrusive, who lives a parallel life of love and loss. Harris has a wonderful stage delivery, and played so realistically a woman aging over the years.

This is my second show at Theo Ubique Cabaret Theatre, and because I like the space so much I am tempted to see everything this season. Theo Ubique allows you to order dinner in advance, and the  performers serve before curtain and during. Or you can do as I did and sit in a bar stool and run a tab (no serving during the show itself, of course.) I have two related suggestions: for ticket buyers, because the theater has no lobby, you can’t be seated after curtain. (I learned that when I was a few minutes late for a performance. So be early.) The other suggestion I have is for a minor adjustment to the sound system, which is really pretty good. It could just be my ears, but certain upper vocal ranges seemed constrained.

Recommended See The Bridges of Madison County through April 21, 2019 at Theo Ubique, 721 Howard Street, Evanston.

*Extended through May 5th

"Nostalgia is a disease." bemoans Lynn Nottage's downtrodden characters in 'Sweat' now playing at Goodman Theatre. This 2017 Pulitzer prize winner examines the ordinary lives of factory workers in a Pennsylvania town in the years leading up to the 2008 recession. 'Sweat' is the second Pulitzer for playwright Lynn Nottage, making her the first woman to ever receive the prize twice. Goodman Theatre premiered her first prize winning play 'Ruined' in 2008. Ron OJ Parson directs an all-star cast in this Chicago premiere. 

'Sweat' switches between 2000 and 2008 as the changing economy finds factory work becoming scarce in traditionally blue-collar Pennsylvania. The play begins with two young men's release from prison for an undisclosed crime. One white (Mike Cherry), has a swastika tattooed on his forehead, the other a young black man (Edgar Miguel Sanchez), crisply dressed holding a bible. We're immediatley swept back to year 2000 when things were as they always had been. Three coworkers of different backgrounds celebrate their friend Tracey's (Kristin Fitzgerald) birthday in a local dive bar. When their friend Cynthia (Tyla Abercrumbie) mentions she's putting in for a promotion at the plant, tensions rise in quick moving scenes. 

The majority of the play takes place in a rundown bar tended by retired plant employee Stan (Keith Kopferer). Kupferer plays a reliable moral backbone of the play as Tracey and Cynthia are pitted against each other when the layoffs begin. Fitzgerald and Ambercrumbi deliver powerhouse performances. Both each other's match as they square off in scenes so intense you nearly forget to breath. 

Though first produced before Trump won the election, it's as if Nottage knew the outcome. It's a quick descent into blatant racism for these otherwise easy-going characters. Economic stress in these reliably blue states turns those at the bottom of an economy against each other. Nottage captures life for those holding onto the past with compassion but perhaps not dignity. 

It's nice to see a full length play these days. 'Sweat' runs two and a half hours but the scenes are so taught you'd hardly notice. This deeply human story has a long-burning fuse that leads right up to a full-fledge powder keg. In the four walls of a smelly bar we're shown some of the darkest sides of capitalism. In that regard, 'Sweat' is not just an American play, but a universal and timeless play about those left behind. 

Through April 14th at Goodman Theatre. 170 N Dearborn Street. 312-443-3800

In a little floral shop on a New York City skid row, something strange is happening. A never-before-seen plant is attracting customers, all the while certain people in acquaintance with its owner are mysteriously disappearing. The horror of it all is as potent as the comedy. Mercury Theater Chicago’s production of 1982’s Little Shop of Horrors breathes new life into a musical theatre cult classic with a high energy ensemble and standout voices. 

Directed by L. Walter Stearns and with puppets designed by Martin P. Robinson, this production is a tribute to the original stage production and the 1986 film adaptation. The 1960s-style rock, doo-wop and Motown-style music by Alan Menken is showcased beautifully by the strong singers onstage. Christopher Kale Jones as Seymour along with Dana Tretta as Audrey belted and held notes to cheers and applause mid-song, and the three female chorus girls stunned with their on-point harmonies and powerful vocals.

The killer plant, Audrey II, is seamlessly puppeteered by Sam Woods from infant budding through full-on, Super Mario-style piranha plant. And Audrey II’s cheekiness and deep voice come through fantastically from Jonah Winston. It’s a lot of fun, darkly funny, and quality on all levels.

Because of some adult themes — murderous alien plant notwithstanding — this production is recommended for those 10 and older. 

Little Shop of Horrors is playing at Mercury Theater Chicago through April 28th. Tickets here.

*Extended through Sunday, June 30th

Murder in the streets, neighborhoods divided along racial lines, racial and ethnic slurs, glorified mob activities, wise guys, street fights and more. THIS is A Bronx Tale (the musical) on its first national tour after a successful 700 show run on Broadway.

Originally a one person play written and performed by Chazz Palminteri, A Bronx Tale is a 1960s coming of age story of a young Italian-American boy who is lured away from his honest, hardworking, baseball loving blue-collar family by the temptations and glorification of the local mob.

Billed as “a tale about respect, loyalty, love, and above all else: family” it is hard to ignore that the backdrop for the entire story is violence, racism, and dishonesty played to an upbeat, “feel good” doo-wop soundtrack. 

If you’re a fan of West Side Story, Grease, Jersey Boys and other similar stories, you will find A Bronx Tale enjoyable even if it follows a predictable story line where Good wins over Evil in the end. 

Featuring music by Oscar, Grammy and Tony Award winner Alan Menken, and lyrics by Oscar and Tony Award nominee Glenn Slater, the score is light, cheery, and optimistic as it keeps the story and the action moving. 

The design team earned the highest praise from this reviewer for both its authenticity and its simplicity. The set morphed almost invisibly from outdoor to indoor, day to night, without distraction. The choreography and blocking which incorporated set/prop movement was subtle and less intrusive than crew members moving around in the darkness trying to go unnoticed.

The overall performance was pleasant and but possibly a little flat according my row mates. With four of the five leads having performed as part of the original Broadway run, I may have expected too much. From my perspective the vocals lacked depth and at times the orchestra drowned out the vocals.

On a side note: Does every portrayal of an Italian-American have to include a Danny Zuko accent?

A Bronx Tale is currently being performed at Broadway in Chicago’s James M. Nederlander Theater for a limited engagement through March 24, 2019.

Pentatonix has made acapella singing cool. Now The Choir of Man makes it to bro-ish. This fast-paced 90-minute performance is sensationally entertaining, as nine men, a mix of Ivy League, grungers and hipsters, cruise through tightly arranged pop-songs with a traditional London pub as the setting.

“Some pubs have darts, ours has a choir,” explains a character named Narrator, as the multi-talented troupe drawn from Ireland and the United Kingdom sing a selection of pop songs by Queen, Paul Simon, Red Hot Chili Peppers and others.

The Choir of Men began its national U.S. tour here in Chicago this week with a rousing opening night at the Broadway Playhouse. The 550-seat Water Tower venue is generously sized but still intimate, a perfect setting for this show.  Early arrivals were on stage partaking at the pub. As showtime neared the set is surrendered to the performers, but a couple women and one man were allowed to linger through the first numbers – a winning routine for engaging the audience.

While Choir of Man is admittedly a construct – it began in 2017 at the Edinburgh Fringe Festival and was devised by producers Nick Doodson and Andrew Kay - it also smacks of authenticity. Part concern and a pseudo-play, the characters have stage names, but the real individuals behind those names match the up to a degree. 

The continuous banter is led off by Narrator (Denis Grindel) who like the actor playing him is from Donegal in Ireland.  As luck would have it  this show runs over St. Patrick’s Day weekend.  He introduces us to the other eight performers, providing a bit of backstory on each. This sets the stage for an evening of songs that showcases each of the men’s talents, including tap dancer Tapper (Matt Cox - they do not stretch far for the fictional names), while advancing their personal narrative, which is a mix of fiction and fact. Ladies’ man Casanova (John Sheehy) has major love affairs that seem to start and end on a monthly basis. Both the cahracter Casanova and the actor Sheehy are from Cork, Ireland. Likewise for Piano Man: both he and the actor playing him, Connor Going, are from Glasgow, Scotland  

At various points, the group coaxes women from the audience on stage, then showers them with wholesome flirtation and buckets of attention, singing all the while in a good-hearted schtick that is delightful to behold. On some levels it’s as though the Chippendales had hearts and brains, and kept their clothing on. Even if at times it can be as relentlessly upbeat as a Facebook photo stream, it stays on the good side of cloying.

And it works: guys also can dig it for the bro-factor, and the unabashedly guy-ness of the rock anthems performed. One man from the audience was on stage attempting a coaster trick that tracks a song to its punch line. And musically it is completely disarming – with 90 minutes of pop hits arranged to give each of the performers his moment in the spotlight, and mining for tightly harmonized male voices songs by Sia (Chandelier) Hedy West (500 Miles) Katy Perry (Teenage Dream).

The Choir of Man opens with one of its best numbers, a mashup of Save Tonight and Avicii’s Wake Me Up. Songs build and build to crescendos of guy-favorite groups, like Queen, with Somebody To Love, which forms one of the blockbuster sets, the bartender Barman (Mark Loveday) providing a creditable lead.

Narrator suggests that we will look into what being a man is all about, but they tread lightly on the subject, and the tone is more smiles and Facebook thumbs up. The performers are versatile, singing, dancing, and several play a variety of instruments. You will laugh and experience touching moments - like the wonderful rendition of Dancing With My Father as The Choir of Man works its winning ways on the audience. It runs through March 17 at the Broadway Playhouse, 175 East Chestnut in Chicago's Water Tower Place building. It's highly recommended. 

It is no wonder that the 9th Annual Winning Works, presented by the Joffrey Academy of Dance Chicago, has been a sold out show since its opening on March 9th through the 10th.  With its talented selection of winning choreographers and their eclectic styles, they brought a show that brings political, cultural and self-awareness, along with insight into different styles of ballet, straight into the artistic heart of Chicago. Each of the 4 performances showcased on the intimate stage of Museum of Contemporary Art Chicago, was introduced with a video, giving the audience members an inside look at the process of creation of each of these performances, as well as into to the inspiration of the artists being featured.

The choreographers featured, hail from the United States (Tomie-Waheed Evans and Marissa Osato), Mexico (Edgar Zendejas) and China (Xian Xu,) featuring just as varied themes to their choice in music, style of dance and purpose of their presentation as their cultural backgrounds.

Beginning the afternoon of performances, was Edgar Zendejas’ Lineas. A silent introduction featuring a single dancer, joined by the other performers in gauzy white shirts and white shorts- performing in a cannon, invoking an ethereal beauty. The interaction between the dancers as they interacted within the group, but also as moving bodies. The representation of these interactions, showcased how are attention can shift between groups and interactions, but how we are all intertwined together within these experiences. 

Coup De Grace choreographed by Tomie-Waheed Evans, was an intense representation of the current political climate of our present day, imagining the reactions we would have if we faced an apocalyptic event. The intensity of the music, vibrant colors and movements of the costumes- portrayed how diverse we are in our current world, all struggling to survive, however if we can embrace our community and those around us- how much we can overcome these obstacles and crisis that seem to plague us all.

Xian Xu’s, Vessels Bearing was an expression of Asian culture and how it is defined by rice, through the representation of rice bowls.  With influences of Asian movement and design with Xu’s choreography, the essence of rice, as a provider of energy, sustenance and warmth is what binds so many of us together.  The impact is has on those who have enough to rely on, as well as those who do not have enough.

  
Give the People What They Want choregraphed by Marissa Osato, was another stunning representation of the quality of talent being featured by Joffrey.  This particular ballet reflected how the façade we carry into our everyday life can eventually or may take its toll on us as we try to present our best face forward.  With music created by a local Chicago composer, Elliot Callighan, the vibrancy of this piece, was uplifting in that we are not all individually facing the challenge of our inner realities and how we present them in real life.  

All four pieces, as their 4 choreographers are so diverse in their backgrounds, ballet styles and musical inspirations, it is exciting to watch as the cultures and perspectives combine on the stage. It is a thrill that the 'Winning Works' has continued to provide us with so many opportunities to view the talented works of these choreographers and an insight into the growing styles of ballet. We look forward to what is coming next, as we relish in the talent we have been shown.

For those who love tap dance (and even those who don't know if they like it), the second annual Sweet Tap Chicago performance at City Winery was heaven on earth. It’s a mix of jazz, classic pop, and blues. And it features a dollop of rap, whose wordplay blends beautifully with the percussive sounds of tap shoes.

The Sweet Tap Chicago program is sui generis – its own thing – and the immensely engaging singers Taylor Mallory and JC Brooks lead the audience through a seamless story stitched together from music by a series of Chicago-grounded artists.

Chicago Tap Theatre, a dance school in the Ravenswood neighborhood, trains the performers and produces the event to celebrate the art form. Mark Yonally, the school’s artistic director, choreographed eight, and Kirsten Uttich, rehearsal director four of the 16 numbers, the remainder produced by other troupe members. 

The Sweet Tap Chicago Band, which leans toward jazz and classic pop, is led by bassist Kurt Schweitz (he is also the school’s music director) with Elisa Carlson on keyboard, Bob Parlier on drums, and Corbin Andrick on sax. Music was by Eddie Harris, Chaka Khan, Sonny Rollins, Sam Cooke, even the Smashing Pumpkins and Sonny & Cher, to name a few. 

And those dancers! The Guys’ Groove featured a jazzy male foursome in black jeans in shirts; the Bob Fosse shaded Superstar saw a trio of women each in black derby dancing to Lupe Fiasco’s song with a live rap overlay by Taylor Mallory.

The blockbuster piece brought improvisational duels between five individual dancers and each of the band members, to a mash-up of Curtis Mayfield’s Move On Up and Kanye West’s Touch the Sky. Saxophonist Corbin Andrick gave as good as better than he got in the number – it was way cool. Chicago Tap Theatre stages it's Sweet Sixteen Annual Gala on May 19, 2019 at Chicago Symphony Center. 

The two performances of Sweet Tap Chicago on March 10 also spotlighted the versatility of City Winery’s venue, a cozy room seating 300 for great food, fine wine, and vintage acts that fit the space, like 1980 Grammy winner Christopher Cross who plays City Winery March 19 as part of his Take Me As I Am Tour  City Winery also seeks out rising local talent, and real boon for the local music scene.

I’ll let you all in on a little secret: Whenever I’m having a lousy day, I pull up YouTube and take in Mahalia Jackson’s performance of “Just a Closer Walk with Thee” at the 1970 Newport Jazz Festival. This performance is notable, of course, for the special guest who joins Mahalia onstage near the end: Louis Armstrong. It’s also notable for the fact that Satchmo would be dead in less than a year, and Mahalia would join him on “thy kingdom’s shore” in less than two. With that in mind, seeing this musical icon in the last bit of her life not only still in complete control of her stage and her audience (I dare you to find me any rock ‘n’ roll singer from that era, or any era, with such a commanding presence!), but exuding such joy, makes whatever gripes I might be imagining on any given day disappear.

That command, that presence, and that joy that Mahalia spread around the world are on display throughout the Black Ensemble Theater’s current production, Mahalia Jackson: Moving Thru the Light. Written and directed by the theater’s indefatigable, inspired, and inspiring founder, Jackie Taylor, the show is framed as a series of dialogues between a recently deceased Mahalia and a trio of heavenly beings there to welcome her to the afterlife. These scenes are fine — giving the audience biographical information about Mahalia’s life and her relationships both personal and political (MLK, JFK, and RFK, among them) — but mostly act as a breather between the show’s 18 wonderful musical numbers. Because, in a show about one of America’s finest musical talents, the music should be the message, right?

In the role of Mahalia, Robin DaSilva certainly has a large gospel robe to fill. But spread the gospel, she does. DaSilva’s voice is a beautiful instrument, ranging from a rich alto to shimmering highs, emoting pain and, yes, frequently spreading joy. She fills the stage and her vocals fill the theater. Joining DaSilva onstage throughout the show are Cynthia F. Carter, Dwight Neal, and Stewart Romeo as the “Masters,” three heavenly beings welcoming Mahalia to her heavenly reward. Carter charmed last year in the Theater’s tribute to Chuck Berry, and both Neal and Romeo are her equals, the trio’s voices blending effortlessly as they harmonize with Mahalia and with one another. The three also each shine on their own, with Carter’s voice showing quite a range, Neal’s tenor piercing the room, and Romeo’s energy and enthusiasm equaling his vocal prowess. During the show’s first half, an ensemble acts as the story’s narrators, but near the end of the second, they join us in a tribute to Mahalia’s life and music.

And again, it’s the music that is the star of the show. As I said, 18 different songs are featured, and many are the favorites that gospel fans would expect. From “How Great Thou Art” to “How I Got Over,” from “His Eye Is on the Sparrow” to “Precious Lord, Take My Hand,” all of Mahalia’s “hits” are there. The show ends with the crowd singing along to “Down by the Riverside” and “When the Saints Go Marching In.” And near the end of the first act, perhaps DeSilva’s finest performance comes as her Mahalia sings Rodgers and Hammerstein’s “You’ll Never Walk Alone.” But for me, it’s the tune that ends the first act that filled me with joy. As DaSilva’s Mahalia sings “When my feeble life is o’er” in her rendition of “Just a Closer Walk with Thee,” my heart soared as I was able to spend a beautiful spring Sunday afternoon with the music of this legend and the legions of likeminded fans who’d come to the Black Ensemble Theater to hear it.

Mahalia Jackson: Moving Thru the Light - through April 14th at Black Ensemble Theater.