Displaying items by tag: Ian Paul Custer

Under the deft direction of American Blues Theater’s Executive Artistic Director Gwendolyn Whiteside, Frank Capra’s beloved holiday classic It’s a Wonderful Life is reborn as a charming 1940s radio broadcast. With vintage microphones, live foley effects, and a versatile ensemble shifting seamlessly between characters, the production becomes more than a retelling - it’s a joyous homage to the art of storytelling itself. Audiences are invited to step back into the golden age of radio, where imagination takes center stage and George Bailey’s timeless journey resonates anew.

In Bedford Falls, George Bailey devotes his life to helping others, setting aside his own dreams for the good of his community. But when financial disaster strikes on Christmas Eve, he begins to doubt his worth. Enter Clarence, a guardian angel, who reveals a chilling vision of a world without George - a town consumed by Mr. Potter’s greed and stripped of hope. Confronted with the profound impact of his generosity, George rediscovers the value of his life. As his neighbors rally to support him, he learns that true wealth lies not in money, but in friendship, love, and the lives he’s touched.

By casting the audience as “studio listeners,” the production erases the boundary between stage and spectator. Foley effects—the slam of doors, the crunch of snow—lend a tactile realism that cinema rarely achieves. The ensemble’s deft shifts in voice and character populate Bedford Falls with remarkable clarity, their energy carrying the narrative even through George’s darkest moments. The touchstones are all here: George’s sacrifices, Potter’s greed, Clarence’s intervention, and the jubilant finale of community over isolation. In radio-play form, these familiar beats gain fresh resonance, reminding us that sound and imagination can be more powerful than spectacle.

The ensemble of It’s a Wonderful Life: Live in Chicago! shines with warmth, artistry, and undeniable chemistry, breathing vibrant new life into this holiday treasure. At the heart of the production, Brandon Dahlquist embodies George Bailey with a sincerity that feels both timeless and immediate. His performance is layered with emotional depth - capturing the optimism of youthful dreams, the weight of sacrifice, and the aching vulnerability of despair. Dahlquist’s portrayal is not only heartfelt but profoundly inspiring, reminding us why George Bailey remains one of the most enduring figures in American storytelling. With every gesture and inflection, he draws the audience into Bailey’s journey, making the character’s triumphs and struggles resonate as if they were our own. It is a performance that anchors the show with humanity and elevates it with grace.

Equally compelling is Ian Paul Custer, who delivers a masterful dual turn that showcases both his range and precision. As Clarence, he radiates warmth and gentle humor, embodying the guardian angel with a tender humanity that uplifts the story and offers moments of levity. In stark contrast, his portrayal of Mr. Potter is steeped in chilling authority - a ruthless presence whose greed and menace cast a long shadow over Bedford Falls. The seamless transition between these two extremes underscores not only Custer’s remarkable skill but also the production’s emotional contrasts, reminding us that the heart of It’s a Wonderful Life lies in the tension between compassion and cruelty, hope and despair.

Justin Banks infuses Harry with an effortless charm, while Audrey Billings embodies Mary Bailey with a luminous blend of grace, resilience, and radiant warmth. Her presence anchors every scene, offering both steadiness and emotional depth as she navigates the joys and hardships of George’s journey. Manny Buckley lends Joseph a dignified gravitas, and Dara Cameron sparkles as Violet, bringing wit, vivacity, and a touch of glamour to Bedford Falls. Michael Mahler elevates the atmosphere as the charismatic Announcer, while his live piano accompaniment bathes the production in nostalgic glow, perfectly evoking the golden age of radio.

Rounding out the ensemble, J.G. Smith delivers a dazzling performance as the Foley artist, transforming everyday objects into extraordinary tools of imagination. With impeccable timing and inventive flair, Smith crafts the soundscape that breathes life into Bedford Falls - snow crunching underfoot, doors creaking open, coins clinking, and bells ringing with holiday cheer. Each effect is not merely background noise but a vital layer of storytelling, immersing audiences so completely that George Bailey’s world feels tangible and immediate. Smith’s artistry underscores the magic of live radio theater, reminding us that sound alone can transport us across time, space, and emotion. It’s a masterclass in creativity and precision, and his contribution ensures the production resonates with authenticity and wonder.

Together, this gifted ensemble weaves storytelling, music, and imagination into a seamless tapestry - proving that collaboration, heart, and craft are what make this production truly wonderful.

The magic begins even before the curtain rises. Arrive early and you’ll be treated to a lively pre-show experience, where the stage comes alive with playful antics, warm laughter, and spirited music. Cast members set the tone with a burst of energy that instantly draws the audience into the festive spirit. It’s more than a warm-up - it’s an invitation to step into the world of Bedford Falls with joy already in the air. By the time the official performance begins, you’ll feel like part of the celebration, swept up in the camaraderie and holiday cheer.

For close to 25 years, American Blues Theater has brought Frank Capra’s classic to life in the form of a 1940s radio broadcast. It’s a Wonderful Life: Live in Chicago! has earned its place as the second longest-running holiday production in the city.

American Blues Theater has discovered a beautiful new permanent home just west of Andersonville. The venue strikes the perfect balance - intimate yet expansive - with seating that is both comfortable and generously spaced. Fully ADA accessible and thoughtfully designed, the theater even offers the convenience of its own dedicated parking lot right beside the building. The parking is easy and the theater offers free spots for disabled patrons.

Recommended!

It’s a Wonderful Life: Live in Chicago! is being performed at American Blues Theater through December 28^th. For tickets and/or more show information, visit https://americanbluestheater.com/2025-its-a-wonderful-life-live-in-chicago/.

Something wicked is winding its way through the velvet curtains of Drury Lane Theatre—and it reeks of roses, red wine, and murder. Dial M for Murder, the classic thriller originally crafted by Frederick Knott in 1952 and immortalized on screen by Alfred Hitchcock in 1954, returns to the stage with a razor-sharp adaptation by Jeffrey Hatcher that’s as stylish as it is sinister.

Set against the moody backdrop of 1950s London, the production invites us into the polished yet precarious world of Margot (Amanada Drinkall) and Tony Wendice (Erik Hellman) - a couple whose marriage gleams with charm but conceals a darker undercurrent. Beneath the tailored suits and cocktail-hour smiles lies a web of betrayal, manipulation, and a meticulously plotted murder that threatens to unravel with every twist of the telephone cord.

Hatcher’s adaptation breathes fresh life into the suspense, tightening the dialogue and sharpening the stakes while preserving the noir elegance of the original. The result is a theatrical experience that feels both vintage and vital - a slow burn that simmers into a full-blown psychological inferno.

Tony Wendice, a former tennis star turned calculating husband, discovers his wife Margot’s affair with mystery writer Maxine Hadley (Alexandra Silber). Rather than confront her, he plots her murder with chilling precision, believing one perfect move will reclaim his unraveling life.

But perfection proves elusive.

When the plan collapses, the story spirals into a maze of blackmail, disloyalty, and psychological warfare. Margot becomes both pawn and player, navigating a world where loyalties shift, truths blur, and every silence speaks volumes.

This isn’t just a thriller—it’s a taut exploration of control, vulnerability, and the artful menace of manipulation.

Alexandra Silber, Amanda Drinkall, Erik Hellman in Drury Lane Theatre's Dial M for Murder.

The players are sensational in the dialogue heavy, quick witted, edge-of-your-seat mystery thriller. Erick Hellman delivers a diabolical and shrewd Tony, Amanda Drinkall is delightful as Margot and Alexandra Silber is a true force as Maxine. Johnathan Weir is also tremendous as sleuthing Inspector Hubbard while Ian Paul Custer is perfectly cast as the Tony’s patsy, Captain Lesgate.

Wonderfully directed by Adam Immerwahr in his Drury Lane debut, this production of Dial M for Murder masterfully marries vintage intrigue with a brisk, modern rhythm. It’s not just a revival - it’s a reinvention – and Drury Lane Theatre is the perfect venue to stage this mystery thriller. The bones of Frederick Knott’s original mystery remain intact, but the pacing has been sharpened, the humor dialed up, and the twists recalibrated for a contemporary audience.

Visually, the production luxuriates in noir-inspired elegance, its seductive precision shaped by a powerhouse design team: Paige Hathaway’s scenic work evokes shadow and intrigue, Joshua Schmidt’s sound design hums with tension, Emma Deane’s lighting casts drama in every corner, and Nicole Boylan’s costumes wrap the cast in mystery and allure. Shadow-drenched lighting carves out tension in every corner, while period costumes evoke mid-century elegance tinged with menace. The sound design - subtle yet insistent - acts as an invisible character, underscoring moments of dread, desire, and deception. It’s a production that doesn’t just tell a story; it envelops the audience in its atmosphere.

The result is a theatrical experience that feels both timeless and timely - a stylish homage to Hitchcockian suspense, reimagined with the velocity and wit of modern storytelling.

At its core, Dial M for Murder is a taut exploration of trust fractured by ambition, love corroded by suspicion, and appearances polished to mask peril. The play doesn’t simply flirt with deception - it dissects it. Every gesture, every line of dialogue, is laced with the question: how far will someone go to preserve their illusion of control, or to dismantle another’s?

Dial M for Murder is a psychological chess match where secrets are currency, gaslighting is taken to the extreme and duplicity is both weapon and wound. As the characters maneuver through layers of manipulation and moral ambiguity, the audience is left to ponder not just who’s guilty - but whether anyone is truly innocent.

Running through October 26^th, this is a highly recommended thriller that you won’t want to miss. For tickets and/or more show information visit https://drurylanetheatre.com/dial-m-for-murder/.

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

“No man is a failure who has friends,” is to film what “God bless us everyone” is to literature. Frank Capra’s 1946 film ‘It’s a Wonderful Life’ is as close to an American retelling of ‘A Christmas Carol’ as anyone has ever gotten.

Though the film has been a Christmas classic for nearly 80 years, the stage version has become its own tradition for many theatergoers during the holiday season. It’s likely you can find a production of the stage version in practically any town in the country during December, right next to ‘The Nutcracker.’ For those unfamiliar, the stage version is traditionally performed as a “live radio broadcast.” Meaning, the actors play voice actors performing a “live” production of a radio play, including old-timey sound effects.

American Blues Theater has been bringing this tradition to Chicago for 23 years! They’ve turned their new permanent home on Lincoln Ave into a quaint, 1940s era radio studio for the month. Audiences get a glimpse into the past and in addition to learning the true meaning of Christmas, they’ll see how radio dramas were produced. 

An all-around great cast led by Brandon Dahlquist and Audrey Billings brings the story of suicidal, down-on-his-luck George Bailey to life in a quick, charming 90-minute production. The cast will certainly help you get into the spirit with a few rounds of Christmas carols before the show gets going.

What really works about this interpretation of ‘It’s a Wonderful Life’ is that it gets right to the point. Parts of Capra’s black and white film feel a bit drawn out, and that can distract from the heartbreaking and bittersweet moments in the script. Here, emotion is mined in a more immediate way. However, for those who have not seen the film, this version is pretty easy to follow.

Whether you’ve seen ‘It’s a Wonderful Life’ once, or 22 times, each year American Blues Theater makes it feel new. Year to year faces change and little embellishments are added, so that it always feels fresh for a new generation.

Through December 22 at American Blues Theater. 5627 N Lincoln Ave. (773) 654-3103.

If you are Jewish, you will especially appreciate and love this play which is full of biting humor and keen observations about how modern day Jews define themselves philosophically and how that vision of themselves plays out in their family relationships.

“Bad Jews” is set in a beautiful New York pied de Terre or studio apartment on the Upper West Side of New York bought by the parents of brothers Liam and Josh and they are being visited by relatives following the death of their beloved grandfather

Their first cousin Diane Feygenbaum is a rabbinical student with an Israeli boyfriend who insists on being called by her Hebrew name Daphna a has to share the studio with them for a few nights and is outraged by the fact that spoiled cousin Liam has actually missed his grandfather’s funeral because he lost his cell phone while skiing in Aspen.

During the course of the play we find out that Daphna is very intent on inheriting the gold Chai (Hebrew for the number 18, and symbol of Life) medallion necklace worn by her grandfather during the holocaust. In fact, he had to hide it under his tongue for two years in the Holocaust death camp he was kept in while the rest of his family members were killed. It turns out Liam has a plan to give the medallion to his “shiksa” girlfriend instead of an engagement ring just as his grandfather gave it to their grandmother 50 years prior.

A ferocious verbal fight breaks out and the true feelings of each cousin for the other and their Jewish values, or lack thereof, pour out with the fury and passion that sometimes occurs particularly after the death of a loved one.

Liam, played by Ian Paul Custer and Daphna played by Laura Lapidus are both hysterically on point in their portrayals. The fantastic monologues for these two characters, written to perfection by Harmon and well directed by Jeremy Wechsler are cutting but truthful, funny yet excruciatingly honest.

Non-Jews will find this play funny and full of Jewish stereotypes handled with great political correctness. Jews will see themselves in all their self hating and neurotic glory, with intelligence bursting at the seams.

I think Daphna could have been played with a little bit more compassion and a little less self righteous bitterness. At one point she mentions poignantly her education about the holocaust and her grandfather’s “tattoo’” or concentration camp number burned into his arm.  We realize as an audience just how deeply touched  and perhaps scarred emotionally a sensitive child is by being thoroughly  exposed to the horrors of the holocaust at the tender age of 13 , as every Jewish child who studies for a bat mitzvah is required to do.

There are a lot of self-hating Jews out there. I was one of them for a while, in part because of the patriarchal and misogynistic attitudes towards women in the Old Testament that Liam brings up during the play to combat Daphna’s self righteous religious rants. Ironically, it took the realization that Jesus or “Yeshuah” (Jesus’ Hebrew name) was the greatest Rabbi, indeed the greatest Jew who ever walked the earth that made me the proud, comfortable, self loving Jew I am today.

The title by Harmon, “Bad Jews” is both eye catching and absolutely perfect because by the end of the play it is clear there are no bad Jews, only good Jews who are internally judging themselves or being judged by others too harshly.

Skillfully directed by Jeremy Wechsler, I highly recommend this thought provoking and hysterical piece of theater for its brilliant writing and two fantastic performances created lovingly and delivered with mind blowing rapid fire delivery by Lapidus and Custer.

“Bad Jews” is being performed at Theatre Wit through June 7^th. I highly recommend this play. For tickets and other info visit www.theatrewit.org.