Displaying items by tag: Tina Munoz Pandya

Teamwork, bravery and fun are at the forefront of Splish Splash: A Day on the Lake, The Goodman's latest Theater for the Very Young (TVY) offering for theatergoers 0-5 and their adult friends and family.  Co-directed by Jamal Howard (The Lizard y El Sol) and Ellie Levine (Threshold's RAIN at Filament Theatre), this nautical adventure—recently extended through March 22—was developed in collaboration with Northwestern undergraduate students and 2- to 5-year-olds from Total Child Preschool in Evanston. Splish Splash: A Day on the Lake appears in The Goodman's Alice Center in an extended run over two more weekends: March 7, 8, 21 and 22. Splish Splash also appears at three Chicago Public Schools—Talcott Fine Arts and Museum Academy, Gregory Academy and Ruth Bader Ginsburg Elementary School—March 9-13.  For tickets ($13 adults 18+; $18 kids 12 months-17 years; under 12 months free), visit the Box Office (170 N. Dearborn), call 312.443.3800 or purchase at GoodmanTheatre.org/Splash. The Goodman is grateful for the support of Wintrust Commercial Bank (Community Programs Sponsor) and Kirkland & Ellis, LLP (Arts in Community Sponsor).

When the moon tumbles into the lake and breaks into pieces, it's up to a brave crew of young sailors to help the Great Blue Heron and their friends—Crayfish, Beaver, Turtle and Yellow Perch—put it back together again. Through songs, puppetry and joyful hands-on play, little ones and their grown-ups will dive into an underwater world of wildlife, wonder and waves. The cast includes Kylie Anderson (BOOK UP!), Sonia Goldberg (Kokandy Productions' Amélie), Tina Muñoz Pandya (The Matchbox Magic Flute) and Michael-Forest (Mikey) Walden (Refracted Theatre Company's Tambo & Bones).

Previous Goodman Theatre Theater for the Very Young productions include BOOK UP! (2025), The Lizard Y El Sol (2024) and In My Granny's Garden (2023).

Full company of Splish Splash: A Day on the Lake (in alphabetical order)

Developed in collaboration with Northwestern University's Imagine U

Co-directed by Jamal Howard and Ellie Levine

Kylie Anderson...Splash/Teaching Artist
Sonia Goldberg...Splish/Teaching Artist
Tina Muñoz Pandya...Blue Heron
Michael-Forest (Mikey) Walden...Sailor

CREATIVE TEAM

Set/Props/Costume Designer...Jillian Gryzlak 
Sound Designer...Stephen Moore 
Line Producer...Jared Bellot 
Production Associate...Jojo Wallenberg 
Production Assistant...Lauren Westfahl
Build Assistant...Ellie Terrell
Build Assistant...Kevin Rieg

Devised in collaboration with Madelyn Cantzler, Laura Fajardo-Riascos, Grace Hall, Ani Lawit, Andrew McCarthy, Kennedy Naseem, Sophie Pong, Ajayla Self and Ella Waffner.

Casting is by Lauren Port, CSA. 

ABOUT THE GOODMAN

Since 1925, The Goodman has been more than a stage. A theatrical home for artists and a gathering space for community, it's where stories come to life—bold in artistry and rich in history, deeply rooted in the city it serves.

Led by Walter Artistic Director Susan V. Booth and Executive Director John Collins, The Goodman sparks conversation, connection and change through new plays, reimagined classics and large-scale musicals. With distinctions including nearly 200 world or American premieres, two Pulitzer Prizes, 22 Tony Awards and nearly 200 Joseph Jefferson Awards, The Goodman is proud to be the first theater to produce all 10 plays of August Wilson's "American Century Cycle." In addition, the theater frequently serves as a production partner—with national and international companies to Chicago's Off-Loop theaters—to help amplify theatrical voices.

But The Goodman believes a more empathetic, more connected Chicago is created one story at a time, and counts as its greatest legacy the community it's built. Generation-spanning productions and programs offer theater for a lifetime; from Theater for the Very Young (plays designed for ages 0-5) to the long-running annual A Christmas Carol, which has introduced new generations to theater over five decades, The Goodman is committed to being an asset for all of Chicago. Education and Engagement programs led by Clifford Director of Education and Engagement Jared Bellot and housed in the Alice Rapoport Center use the tools of theater to spark imagination, reflection and belonging. Each year, these programs reach thousands of people (85% from underserved communities) as well as educators, artists and lifelong learners across the city.

The Goodman stands on the unceded homelands of the Council of the Three Fires—the Ojibwe, Odawa, and Potawatomi Nations—and acknowledges the many other Nations for whom this land now called Chicago has long been home, including the Myaamia, Ho-Chunk, Menominee, Sac and Fox, Peoria, Kaskaskia, Wea, Kickapoo, and Mascouten. The Goodman is proud to partner with the Gichigamiin Indigenous Nations Museum (Gichigamiin-Museum.org) and the Center for Native Futures (CenterForNativeFutures.org)—organizations devoted to honoring Indigenous stories, preserving cultural memory, and deepening public understanding.

The Goodman was founded by William O. Goodman and his family to honor the memory of Kenneth Sawyer Goodman—a visionary playwright whose bold ideas helped shape Chicago's early cultural renaissance. That spirit of creativity and generosity endures today. In 2000, through the commitment of Mr. Goodman's descendants—Albert Ivar Goodman and his late mother, Edith-Marie Appleton—The Goodman opened the doors to its current home in the heart of the Loop.

Marsha Cruzan is Chair of the Goodman Theatre Board of Trustees; Diane Landgren is Women's Board President; and Kelli Garcia is president of the Scenemakers Board for Young Professionals. 

TICKETS HERE

Mozart’s masterpiece, and one of the world’s most frequently performed operas, The Magic Flute, is given a modern-day makeover in award-winning director and writer Mary Zimmerman’s production of The Matchbox Magic Flute, now playing at The Goodman Theatre on its Owen stage.

In this world-premiere production, Zimmerman has adapted the traditionally lavish and grandiose opera with full company and orchestra and has created what has been dubbed an opera-in-miniature with a cast of ten and an orchestra of five. The results are nothing less than triumphant.

From the orchestra members dressed in costume with candles flanking their music stands to the delightful Spirit (wonderfully performed by Reese Parish) who guides us through the performance, to the Zimmerman-trademarked scenery which effortlessly flows from forest to palace and back again, every detail contributes to the overall ambiance of the production to create an intimate theatre experience. The audience feels as if they are part of the performance as the actors frequently turn to us and bring us into the action and let us in on the jokes.

The production follows the traditional story line of Prince Tamino (Billy Rude) who finds himself lost in the forest pursued by a dragon. He is rescued by three woodland ladies, who show him the portrait of Princess Pamina (Marlene Fernandez), the daughter of the Queen of the Night (Emily Rohm), who has been abducted by Sarastro (Keanon Kyles) and his sidekick, Monostatos (Russell Mernagh).

The Prince falls in love with the Princess instantly, and when the Queen of the Night commissions him to rescue her daughter, promising him her daughter’s hand in marriage, the Prince is only too happy to oblige. Aided by a magic flute and accompanied by the lovelorn half-bird, half-man, Papageno (brilliantly played by Shawn Pfautsch), the Prince commences his magical mission.

In adapting this classic opera, Zimmerman has gone line by line, not only condensing the plotline to fit a two-hour running time, but also updating the libretto to include unexpected and humorous references to modern life. For instance, when the three woodland ladies (Lauren Molina, Monica West, and Tina Munoz Pandya) discover the unconscious Prince, they coo over his physique as one who has obviously gone to the gym.

Later when Papageno and the Princess meet and sing about “the bird and the girl,” they encourage one another to persevere and not be discouraged “as when you are waiting in the grocery line.” These references are so cleverly embedded throughout the performance that you find yourself waiting and listening for them.

Even though only one of the ten cast members is a trained opera singer (Kyles who plays Sarastro), all have the musical theatre credentials to do justice to Mozart’s soaring operatic scores. Rohm as Queen of the Night gives an outstanding performance of one of the opera’s most well-known arias, Der Hölle Rache, with its fast repetition of High C’s, that challenges most sopranos. And the superbly comedic duet of Pfautsh’s Papageno and his newfound love, Papagena (also played by Lauren Molina), Pa pa pa, is a show-stopper. Also, not to be missed is Kyles’ impressive baritone, whose lower range wows the audience.

Rude as Prince Tamino and Fernandez as Princess Pamina shine in their respective roles, both vocally and in their character portrayal. Fernandez has a particularly beautiful soprano that is magnificent to hear. The three woodland ladies (Molina, West, and Pandya) are outstanding in their roles, adding humorous commentary on the action to both those on stage and to the audience. Mernagh’s Monostatos, as the one real villain in the story, is played with just the right comedic touch in his clumsy attempts to seduce the Princess.

What ensues is a thoroughly engaging and entertaining production that is fast-paced and lively. Toss in a few woodland creatures, whose dancing border on the hilarious as they throw in a little soft shoe, and you have a family-friendly show perfect for all ages. Even some of the musicians get involved and join the action on stage, as when flautist Dalia Chin, leads the Prince and Princess through their final trials with her “magic flute.”

Zimmerman herself sums up the production as a fantastical, adventuresome journey with something for everyone – dancing animals, magical instruments, lessons learned, along with a bit of humor, all set to Mozart’s time-honored classic score. What’s not to like?

Don’t miss your chance to introduce the younger generations – or even yourself -- to opera in a most winsome and captivating way. The Matchbox Magic Flute is playing through March 24 at the Goodman Theatre.

Do you love a good whodunnit? If so, you will love this rich and funny production of ‘The Mousetrap’ directed with great staging and humor by Sean Graney.

Agatha Christie's ‘The Mousetrap’ opened in London in 1952 and never stopped running. It is the longest running play in stage history, and for good reason. Its well-crafted script is entertaining throughout, is filled with colorful characters and keeps one guessing right until the very end. And Graney takes the play in a great direction by casting character actors with serious chops in all roles. 

Mollie and Giles Ralston (wonderfully played by Kate Fry and Allen Gilmore) are a newly married couple who have decided to turn the house she inherited into a bed and breakfast. The couple are a little overwhelmed by the flurry of guests that arrive on their opening when they all become snowbound in the house and get news that a murder has occurred nearby - and the killer is still at large, and most likely heading their way. It doesn’t take long before everyone becomes a suspect. 

While piecing clues together, audience members can enjoy an eyeful of color and textures in the fabulous set design thanks to scenic design by Arnel Sancianco with lighting by Claire Chrzan, sound by Kevin O’Donnell and costumes by Alison Siple, which include a tall window with real rain falling and a smoky fireplace are ominous and luxurious at the same time. The costumes for all cast members are stylish and multi-layered and particularly delightful to the eye are Alex Goodrich’s in head to toe orange patterns and David Cerda’s in a spectacular ensemble of royal purple with fur trim on his floor length winter coat.   

No spoiler alerts here, if you have never seen the play you will have a great time guessing who the murderer is and if you have seen it, this well done production will still keep you engaged right up until the end.

Erik Hellman gives a great performance as Detective Sgt. Trotter, the lawman who arrives on snow skis in the middle of the storm, earnestly trying to protect all the houseguests from becoming murder victims. 

My favorite performances in this cast came from Alex Goodrich as Christopher Wren and David Cerda as Mr. Paravicini. Both are outstanding. Cerda is well known for his superb camp theater productions as the Artistic Director, actor, resident playwright and co-founder of Hell in a Handbag Productions. In this very funny production, Cerda steals every scene he is in and provides great comic relief as the tension on the set builds and builds all while dressed to the nines in royal purple, silk knee high knickers. 

Goodrich has also made his mark in Chicago area theater and is perhaps best known for his many leading roles at Marriott Theatre and Chicago Shakespeare. The talented actor reminds me so much of another great Chicago comic actor, John C. Reilly, and he fills the room with an energy of youthful disgust mixed with childlike wonder as he flutters about the large stage getting big laughs with his over-the-top manic energy, spot on delivery and physical comedy.

Carolyn Ann Hoerdemann plays a very convincing and killable guest as the picky and annoying Mrs. Boyle, while Tina Munoz Pandya is mysterious as Miss Casewell and Lyonel Reneau gives us a strong Major Metcalf.

I highly recommend this funny, exciting, and well-paced production of the classic Agatha Christie murder mystery for a night of suspense and laughs on a cold wintry eve at the lovely Court Theatre. For more show information visit www.CourtTheatre.org.