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What do you do when something in life, an unforeseen occurrence, challenges what you thought was one of your most deeply held beliefs?  What direction do you take if adhering to your convictions could mean sacrificing something exceedingly dear to you?  Do you follow your moral compass or choose the personally expedient? These are the kinds of questions that drive Admissions, Joshua Harmon’s brilliant and piercing 2018 play fresh in its run at Citadel Theatre Company in Lake Forest.  Teasing out the answers to this dilemma makes for some of the best theater you’ll likely find anywhere in the metropolitan area right now.

It takes shape in a place where most of us have little knowledge, an elite private high school on the east coast. This one is named Hillcrest.  Sherri Rosen-Mason (Susie Steinmeyer) has been the Admissions director there for years and throughout her tenure; promoting diversity in the student body has been as much a passion for her as it is a mission.  Every incremental percentage increase in minority enrollment is met with euphoric elation.

Sherri’s husband, Bill (Tim Walsh) leads the school as its headmaster. They have a son, Charlie (Justin Jarzombek), who’s finishing his senior year there.  Highly successful and proudly liberal, Sherri and her husband are more than aware of their privilege in society and are anxious for others with fewer advantages to share in the bounty they enjoy.

The timeframe is just a mere ten years ago when, despite its many vocal detractors, diversity was increasingly the law of the land and becoming enshrined in our institutions.  Because it doesn’t impact them directly or personally, many Americans still respond ambivalently toward the change and view it simply as a manifestation of cultural evolution.  Much like Roberta (Elaine Carlson), Sherri’s Development officer who designs the school’s promotional materials.  She tolerates it or may even support diversity as a principle; but it has no real bearing on her own life.

Aptly directed by Beth Wolf, that perceptual imbalance between Sherri and Roberta provide the foundation for frequent incisive and wonderfully humorous scenes that take place whenever the two women sit down to review the promotional catalogs being sent to prospective students. Roberta doesn’t really understand why she must include more pictures of Black students in the recruitment material.   When Sherri asks her why a Black student would want to come to a school if they didn’t see anybody who looks like them in that school’s brochures, Roberta invariably gives a dismayed pout before moving into defensive dismissiveness.  Echoing the kind of language you’d expect of a person who never felt the drag of race as a weight, her outlook on the subject could easily be thought cavalier.   Full of genteel spunk, and propelled by the boldness of Joshua Harmon’s writing, Carlson in her role of Roberta is as illuminating as a powerful lighthouse.  Exposing this rarely viewed profile of a recessed but likely prevalent national mindset makes her character boundlessly fascinating.  And Carlson fills it with laudatory panache.

Something very similar happens when we learn more about Sherri’s son, Charlie.  Elite private high schools, wherever they’re located, know their purpose.  To help pave the way to assured success.  Excelling in academics, sports and his sundry other interests, Charlie appears destined for a life very similar to his parents.   Both he and his best friend, Perry, the bi-racial son of a professor at the school who’s also a super-achiever, have their eyes on Yale.

Although very close in their achievements, Charlie edges out Perry ever so slightly overall.  But it’s Perry, a person we never see on stage, who’ll get to claim the bulldog, Handsome Dan, as his school mascot next Fall.  Charlie receives a beautifully crafted rejection letter. That’s when the stuff of the nightly news becomes real for the Mason family.  

It’s not unusual for disappointment to induce rage. In a Homeric monologue, one that’s as eloquent as it is tremendously edifying, Charlie unleashes the hurt and angst of a generation who feel as if they’ve been placed on an altar of sacrifice.  A generation of white boys and young men who believe their futures are being used to pay for the past misdeeds of a nation.  Jarzombek delivers it splendidly, pushing it deftly down into the souls of a rapt audience and receiving an immediate and enthusiastic ovation for his efforts.

Just as compelling is its counterpoint, embodied in Ginnie, Perry’s white mom.  Hers is another voice seldom heard on the dramatic stage, that of white woman raising a black child.  Played with lovely craftsmanship by Tina Shelly, she’s angered as well as hurt when she gleans people she considers her friends, people who know her son’s abilities, believe the primary reason Perry was accepted into Yale is his color.   

One of the wonderful things about exceptional writing is that you know not to expect conventional, easily anticipated endings. And there certainly isn’t anything like that here.  It’s the way things resolve that you luxuriate in.  Like the way Charlie rises and demands an equal voice in shaping his future.  And then see where that takes him. Or how Ginnie rejects equanimity to embrace passion and stands her ground; never vacillating in her defense and championing the primacy of her family.  Shedding giddy to proudly wrap herself in armor. 

As delightful as the rest of the cast, Steinmeyer as Sherri and Walsh as her stalwart other half gleamed like fine gems as played a married couple who knew how to push and challenge each other with both true force and real respect.  What they don’t do is also very telling.  Which makes Admissions the kind of story your mind might return to when you find yourself, someone you know or even a country, thrashing through a moral conundrum.

Admissions

Through March 15, 2026

Citadel Theatre Company

300 S. Waukegan Road

Lake Forest, IL   60045

For more information and tickets:  https://www.citadeltheatre.org/admissions

Highly Recommended

This review is proudly shared with our friends at www.TheatreInChicago.com.

Grab a glass of wine with me and journey with me to Paris, France 1904. We stumble in as guests to a local artist haunt in the Montmartre District and remain on the exterior of the room. It's a cozy, intimate, and simple bar, with witty, smart, and regular patrons who are tres amusant. We do not know what the evening will bring, but we’re welcomed by the barkeep and entranced by the colorful characters that enter the bar. This is The Lapin Agile.

The Lapin Agile is a comedy play written by the incomparable Steve Martin. The comedy imagines a meeting between a 23-year-old Pablo Picasso and a 25-year-old Albert Einstein at a real life artists’ hangout in Paris at the dawn of the 20th century. It’s 1904 and the two geniuses are about to complete their most significant accomplishments; Einstein’s theory of relativity and Picasso’s painting “The Young Ladies of Avignon.” They have a lengthy debate about the value of genius and talent which is often interrupted by colorful patrons of the bar.

While such a meeting between the two artists never took place, the play brings the imaginary encounter to life, giving it plausibility. Einstein, played by Mark Yacullo and Picasso, played by Travis Ascion, embodied the intelligent and charming men, exchanging witty remarks about the others’ occupation and trade. With smart jokes, witty comebacks, and hilarious moments, the play delves into meaningful conversations where two seemingly opposite geniuses in their own rights find commonality in the power of their imaginations and how their pens allow them to transcend modernity.

The Lapin Agile is a real bar in the heart of Paris. Located in the Montmartre arts district, this bar was famous as a local artist's haunt drawing in many famous names in art, music, literature, and more. The Citadel Theater brought the charming 20th century haunt from Paris to its modest stage, nestled in the charming town of Lake Forest just North of Chicago. The ensemble cast provided the perfect enchanting bartenders, servers, and patrons, much like one would encounter in a real Paris artist’s bar. The play was surprisingly and consistently funny, lose focus for a moment and you might miss a subtle joke about Euclidean geometry or a playful jest about the French. The ensemble cast skillfully breaks the 4th wall, never stepping out of character or the Paris district they were playing in, in fact you were tempted to ask the barkeep for a drink to share with the cast.

At its heart, The Lapin Agile imagines the possibility of sitting in a quiet bar at the turn of a century and allows you to imagine what could be. What could be beautiful, revolutionary, colorful, loud, and what could break through the realm of possibility, even transcending time and space. It’s a beautiful play, performed by a talented cast, in a surprisingly charming theater.  

The Lapin Agile is playing at the Citadel Theater, located at 300 S Waukegan Road, Lake Forest, IL through May 22, 2022. Santé!

Many of us already know the story of the spirited, loveable orphan girl who is saved from an abusive orphanage after a billionaire takes a liking to her and decides to adopt her. Daddy Warbucks is that billionaire, Miss Hannigan is the abusive, alcoholic who runs the orphanage and the musical is ‘Annie’. Yet, if you know the story or not, it is a musical that inspires, offers hope and shows us that positivity can go a long way.

Citadel Theatre, located in Lake Forest, is the latest to bring ‘Annie’ to the stage. Directed by Robert D. Estrin, ‘Annie’ is a fun production for the whole family to enjoy.

It’s 1933 and Annie (Sophie Kaegi) and her gang are often mistreated at the orphanage by Miss Hannigan (Ellen Phelps), who finds sadistic pleasure in disciplining the kids. Miss Hannigan drinks openly, flirts with every serviceman that enters the orphanage and resents Annie most of all. The only thing the kids can do is hope they get adopted and, in the meantime, praise Miss Hannigan on command and sing “It’s A Hard Knock Life” while scrubbing floors. But everything changes when a billionaire’s assistant, Grace Farrell (Chamaya Moody), drops in unexpectedly to pick out a child to spend with the powerful Oliver Warbucks (John B Boss) over the holidays. And guess who she picks? Yep. Annie.

After Mr. Warbucks takes a liking to Annie he offers to adopt her, but Annie is determined to find her real parents. So the billionaire offers a huge monetary reward to the father and mother that come forward and claim Annie as their own - though he must be careful of imposters.  When Miss Hannigan finds out the reward offerd by Mr. Warbucks, she, her jailbird brother Rooster (Kyle Ryan) and his girlfriend Lily (Becca Duff) begin scheming. But can they fool Mr. Warbucks and his sharp assistant, Miss Farrell?

Citadel makes the best of their space to accommodate such a large cast and include a changing set that that takes us from the orphanage to Warbucks giant mansion – and it works quite well. With this production you also get strong ensemble and individual vocal performances, particularly from lead Sopia Kaegi, Chamaya Moody and Bill Chamberlain who plays Franklin D. Roosevelt, Oliver Warbucks very good friend. The children actors add much of the show's charm while players of multiple roles like Nick Mendelson (who killed it in Hell in a Handbag's 'Poseidon! The Musical'), Alexander Rubin and Emily Lewis (to name a few) lend strong credibility to the ensemble's sturdiness.

The show's many catchy song and dance numbers (music by Charles Strouse and lyrics by Martin Charnin) are admirably performed by its ensemble and there is a lot to like in this production although I would have liked to have seen a bit more put-up-your-dukes-spunkiness out of Annie, more gruffness from Oliver Warbucks so that we can more effectively feel him gradually soften to Annie's warmth and good-heartedness, and a bit more tongue-in-cheek, over-the-top, cruel and erratic behavior out of Miss Hannigan (not sure if there is a reason she is not portrayed as an alcoholic as much as we are used to seeing her, outside of her opening appearance in the orphanage). I also didn't feel that a romance was blooming between Miss Farrell and Mr. Warbucks until near the show's end scene. Still, the leading characters are effective, each having their share of fine moments, while the entire cast pulls off a solid all around performance and delivers a nice fun-filled production providing one hit after another including “Tomorrow,” “I Don’t Need Anything But You” and “Easy Street,” a deliciously pleasing song and dance number that has Miss Hannigan, Rooster and his girlfriend Lily (Becca Duff) setting their scheme into place.

‘Annie’ is an entertaining production that reminds us of the things we should not take for granted and the little things in life to be thankful for – sometimes it takes a special kid to show us the way. Extended through January 5th, ‘Annie’ is being performed at Citadel Theatre in Lake Forest.

For tickets and/or more show information, visit www.citadeltheatre.org.

Please note that Kayla Norris plays the role of Annie on alternating nights.