Displaying items by tag: Holiday

Holiday is a play written by Philip Barry in 1928 before the tragic stock market crash of 1929.  It has been made into two movies, most notably in 1938 starring Cary Grant and Katherine Hepburn. This adaptation, artfully authored by Richard Greenberg, has brought a case study in the class system and its relationship with money and assets is not only thought-provoking but clever.  The use of modern idioms mixed with classic patter delivery of movies of the thirties and forties keeps the audience rapt awaiting the next joke or witticism to land.  The direction by Robert Falls is a translation of reticence and underlying suppressed emotion of a family possessing generational wealth on the upper east side of New York City. Falls delivers Greenberg’s words in a manner so true that the piece has a voyeuristic tone.

The play opens in the main modernized parlor of a Manhattan mansion so beautifully appointed that audible gasps could be heard throughout the audience. The scenic design by Walt Spangler is so spot on in depicting “Old Money” right down to the mallard decoys on the mantel that it transports everyone into the Seton family fortunes.  Lighting designer Amith Chandrashaker’s work baths the Seton family like a beautifully seated family portrait.  When the curtains are parted to allow daylight to seep into the parlor, it makes one question what time they arrived at the theatre.  It is in this opening scene that we meet the Seton family and guests.  Julia Seton (played by Molly Griggs) the compliant entitled daughter and her new beau, Johnny Case played with great range by Luigi Sottile. Linda Seton, the defiant sibling seeking to change the world and identify with the residents and children of Red Hook played with just the right mixture of outrage and vulnerability by Bryce Gangel and Ned Seton (Wesley Taylor), the youngest namesake brother who has failed to measure up. And, the scion of the fortune, Edward Seton played with steely reserve by Jordan Lage who ensures “the equilibrium of the house is not disrupted” as one scene tells us.

The story unfolds as Julia is besotted with Johnny Case, a new beau met in a “spa”, and we watch her try to mold him into a man to join the family business after first making his own millions. Case ended up in the “spa” through an intervention by friends who realized he was working himself to misery. Being around the family and relations of Julia Johnny begins to reexamine his life’s purpose and path.  With a healthy dose of sarcasm from Linda and Ned we see wealth and privilege scoffed at as much as it is valued and revered by Julia.  Johnny is a ping pong ball in the family’s game of emotions and parlayed witticisms. We travel in time through a season of proposal and an engagement announcement to other reasons to celebrate. We visit the childhood traumas of a mother dying young of cancer with her dreams of being a prima ballerina dashed by Edward Seton and his insistence on the importance of an heir. Each child is a character study in the privilege and travails of the very wealthy.  Johnny Case, who is first viewed as a pawn in their family games goes through his own evolution and the realism of wealth, money and power. Wesley Taylor is the standout of a well guided and directed ensemble.  He plays Ned with such mirth, hilarity and tragic pain that one moment he has you laughing and the next on the verge of tears. Every scene he is in becomes pivotal.

The other unexpected “star” of this show is the scenic design and transition.  One moment you are in the parlor and then next act transported to the childhood nursery/playroom of memories styled by their mother.  It hardly seems possible but in almost a magical fable like scene change we end up in the parlor.  It’s a feat rarely seen on stage and every member of the design and stage management team needs to be aware that their contribution to this piece is pivotal, both literally and figuratively. The scenic design alone is a reason not to miss this show but go for the laughs and beautiful line delivery such as “Alexa stop the joy”.  Modern, relatable and beautifully delivered.

There’s nothing not to love about Cary Grant and Katherine Hepburn but Robert Fall’s direction of these talents honor this beautifully written adaptation which is a mini-Holiday for anyone who attends.

HOLIDAY, now playing at the Goodman’s Albert Theatre in Chicago through March 1, 2026.

https://www.goodmantheatre.org for ticket and performance time information.

Mary Beth Euker is a founding director of Cricket Theatre Company in Lake Zurich, Illinois, has appeared in shows at Devonshire Theatre in Skokie and Woodstock Opera House and directs in Lake Zurich at various schools and for Cricket.

*UPDATE - Extended through March 8th

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

Now in its eighth year, global drag icons and RuPaul’s Drag Race stars BenDeLaCreme and Jinkx Monsoon are back on tour with The Jinkx & DeLa Holiday Show – a hilarious, unhinged, and queer production that pushes the boundaries of the holiday spectacle. The Jinkx & DeLa Holiday Show has touched down in Chicago once again for a limited engagement this time at the storied Chicago Theatre. For one glittering night, the marquee lights up with the names of drag royalty Jinkx Monsoon and BenDeLaCreme, transforming the historic venue into a festive playground of camp, comedy, and holiday magic.

This year’s show – directed, produced, and written by BenDeLaCreme – is structured as a holiday anthology. Each segment spirals into its own brand of festive absurdity: an homage to Freaky Friday, immaculate conception, and hilarious twists on holiday horror a la The Simpsons’ “Treehouse of Horror.” Every story is bigger than the last and more delightfully deranged, featuring Broadway-style musical numbers, both beautiful and creepily extravagant costumes, and innuendo galore. The pace of the night is relentless in the best way possible: each scene seems determined to outdo the last.

While the show returns each year, it’s reborn anew every season. Jinkx Monsoon and BenDeLaCreme craft a completely fresh production - new themes, script, music, choreography, costumes - supported by months of writing and rehearsal. It takes a village of brilliant, authentic artists to pull off such a one-of-a-kind performance that feels both polished and chaotic. The end result is a show that feels handcrafted with love, humor, and both endless glitter and weed.

Fear not - though the production is reinvented from the ground up each year, one beloved constant remains: Hunky the Elf, played with irresistible charm by Gus Lanza. Far from being sidelined, he’s front and center, anchoring the show with his mischievous energy and magnetic stage presence. And he’s not alone. Joining him is a powerhouse dance ensemble—Chloe Albin, Isaiah Brooks, Jace Gonzalez, Jim Kent, Ruby Mimosa, and Derrick Paris—whose precision, athleticism, and sheer joy transform the evening into something far beyond a two-queen comedy showcase. Together, they expand the world of Jinkx and DeLa into a glittering holiday spectacular, complete with dazzling choreography, ensemble-driven spectacle, and the kind of theatrical grandeur that makes the show feel less like a cabaret and more like a full-scale seasonal event. Over the course of the evening, the ensemble shifted seamlessly from jolly to eerie to sultry - and back again - never breaking a sweat. What makes it truly captivating is that each performer brings their own unique flavor to every vignette, ensuring the group’s cohesion never overshadows their individuality.

Of course, at the heart of the chaos is the dynamic duo of Jinkx and DeLa. Their banter is razor sharp, but even in the craziest of moments and wildest twists of plot, the two maintain a warmth and camaraderie that invites their audience into the joke with them.

Even at their most outrageous - and believe me, the outrageousness is abundant - Jinkx and DeLa never lose sight of the heart. They understand that a true holiday show needs more than glitter and gags; it requires a touch of deeper meaning to resonate.

“How do we keep singing and dancing when the horrors persist?” Jinkx asks.

“The horrors are precisely why we must keep singing and dancing,” DeLa answers.

Amid all the silliness and the spectacle, their show is a reminder that queer joy matters. That communal joy matters. That holiday joy matters, and that everyone can find joy in the holidays.

The Jinkx & DeLa Holiday Show is making the yuletide gay with their queer, communal holiday joy across 30 cities throughout the U.S. and Canada until December 30th, offering the perfect blend of camp, chaos, and heart in what is sure to become your new favorite holiday tradition.

For tickets and more information, visit jinkxanddela.com

Christmas cheer is here. Or rather... CHRISTMAS CHEER IS HERE!!!

Based on the 2003 blockbuster hit movie Elf with Will Ferrell and Zooey Deschanel, Elf the Musical is a glittering holiday stage confection that mixes slapstick comedy, heartfelt family drama, and a score full of catchy tunes like “Nobody Cares About Santa,” and “Never Fall in Love with an Elf” (one of the musical’s best song and dance numbers). It’s a show designed to leave audiences laughing, humming, and perhaps even believing in Christmas magic again. The stage adaptation of Elf transforms the beloved film into a glittering Broadway spectacle, guided by the comic touch of Bob Martin and Thomas Meehan’s book.

Buddy the Elf is anything but ordinary - mainly because he isn’t an elf at all. Accidentally tucked into Santa’s sack as a baby and raised among the North Pole’s toy-making crew, Buddy grows up brimming with candy-cane energy and a grin as bright as the Rockefeller Center tree (after all, smiling is his favorite). When the truth of his human identity comes to light, he heads to New York City in search of his real father, Walter Hobbs - a cranky children’s book publisher whose name sits squarely on Santa’s naughty list. What follows is a merry storm of comic misadventures, from Buddy’s chaotic debut at Walter’s office to his glitter-drenched takeover of Macy’s, capped by the showstopping ensemble number “Sparklejollytwinklejingley.”

Buddy’s relentless cheer doesn’t always hit its mark - especially with Jovie, the world-weary Macy’s employee who slowly softens to his quirky charm. At home, Walter’s wife Emily and son Michael yearn for connection, their longing beautifully voiced in the ballad “I’ll Believe in You.” As Buddy’s antics spiral from comic chaos to heartfelt desperation, Walter’s patience frays, setting the stage for a holiday crisis that peaks when Santa’s sleigh sputters to a halt in Central Park.

In true Christmas fashion, it’s Buddy’s infectious joy - and the collective power of a crowd singing together - that rekindles belief in magic. By the final curtain, Walter has embraced Buddy as his son, Jovie has discovered love, and the city itself has been swept up in a wave of rediscovered holiday spirit. The message is simple yet enduring: sometimes it only takes one elf to remind us of the wonder we’ve forgotten.

Currently lighting up Auditorium Theatre in a limited engagement through December 14^th, this zany holiday romp delivers a burst of festive cheer guaranteed to lift spirits high enough to send Santa’s sleigh soaring once more.

Jack Ducat slips seamlessly into Buddy the Elf’s candy-cane-striped shoes, radiating a charm that feels tailor-made for the role. His wide-eyed innocence glows like twinkle lights across the stage, a pure embodiment of childlike wonder that never dims. With boundless energy and an infectious grin, Ducat magnifies Buddy’s relentless optimism until it fills the entire theatre, wrapping the audience in holiday warmth. His comedic instincts are razor-sharp, turning even the smallest quip or physical gag into a laugh-out-loud moment, while his musical bursts sparkle with joy. In every scene, Ducat channels the essence of Christmas spirit - reminding us that Buddy isn’t just a character, but a cultural touchstone of holiday cheer, beloved for the way he makes us believe in magic all over again.

The production’s heart is amplified by its supporting cast, each bringing dimension and warmth to Buddy’s journey. Felicia Martis crafts a Jovie with delightful complexity - her initial cynicism and guarded demeanor provide a sharp contrast to Buddy’s boundless optimism, making her eventual embrace of Christmas cheer all the more rewarding. As Walter Hobbs, Buddy’s beleaguered father, Jeff Brooks anchors the story with a commanding presence, capturing both the stern pragmatism of a businessman and the gradual softening of a man rediscovering family and faith. Yara Martin, as stepmother Emily Hobbs, is nothing short of luminous; her nurturing spirit radiates throughout, and she truly dazzles in her duet with son Michael. Camden Kwok, in turn, delivers a wonderfully earnest Michael, whose youthful sincerity makes “There is a Santa Claus” a standout moment along with Martin - an anthem of belief that sparkles with joy and reminds audiences of the magic at the core of the season. (*Ryan Duck alternates performances with Camden Kwok as Michael).

Darius J. Manuel proves to be a dynamic force onstage, stealing scenes with not one but two memorable turns. As the exuberant hotdog vendor, he serves up laughs alongside “The World’s Greatest Hotdog,” infusing the moment with infectious energy. Later, he reappears as the genial store manager whose good intentions lead to comic gold when he assumes Buddy’s elf costume marks him as a holiday department employee. Manuel’s sharp comedic instincts shine in both roles, blending physical humor with a warmth that keeps audiences leaning in. The highlight comes when Buddy nudges him into song, unlocking Manuel’s impressive vocal range.

Katelyn Lauria lights up the stage as Hobb’s office assistant Deb, delivering a performance brimming with comic zest. Her sharp timing and playful wit turn every moment into a laugh, while her buoyant presence injects a spark into the office scenes, ensuring Deb stands out as one of the production’s most memorable delights. Equally compelling is Andrew Kendrick, who demonstrates remarkable versatility in two sharply contrasting roles. As Santa Claus, he radiates warmth and joviality, embodying the very essence of holiday cheer with a twinkle in his eye and a booming laugh that instantly charms the audience. Then, in a striking shift, Kendrick inhabits the stern, impatient Mr. Greenway - Walter Hobbs’ demanding boss - capturing the character’s rigid authority with crisp precision. The contrast between these extremes not only highlights Kendick’s impressive range but also deepens the production’s narrative, balancing the magic of Christmas spirit against the hard edges of corporate life.

Director Philip Wm. McKinley orchestrates this holiday jewel with remarkable finesse, shaping each moment to shimmer with the warmth and sparkle of Christmas spirit. His vision transforms the stage into a living snow globe, where sweeping scenic designs unfold into breathtaking tableaux and glittering special effects ignite a sense of wonder that keeps audiences spellbound. The humor is delivered with impeccable timing, sending waves of laughter through the theatre, while the dance numbers dazzle with precision and exuberance, bursting forth like fireworks of festive joy. At the center of it all is a radiant ensemble whose collective energy and talent elevate the production beyond mere entertainment, crafting instead a jubilant celebration of the season - one that leaves audiences glowing with holiday cheer long after the curtain falls.

Overflowing with laughter and festive cheer, Elf the Musical is the perfect gift to unwrap this season. A joyous addition to any holiday wish list, the production delivers sure-fire fun for audiences of all ages, blending heartwarming spirit with playful humor that keeps the Christmas magic alive from start to finish.

Highly recommended.

Elf the Musical is being preformed at Auditorium Theatre through December 14^th. For tickets and/or more show information, visit https://elfmusicaltour.com/.  

Goodman Theatre’s 2025 production of A Christmas Carol delivers a reimagined yet reverently faithful vision of Charles Dickens’ enduring holiday masterpiece. Directed by BOLD Artistic Producer Malkia Stampley, the staging infuses fresh energy into the familiar tale, striking a delicate balance between honoring tradition and embracing innovation.

Charles Dickens’ A Christmas Carol follows Ebenezer Scrooge, a cold-hearted miser who scorns Christmas and human kindness. On Christmas Eve, he is confronted by the ghost of his former partner, Jacob Marley, and guided by three spectral visitors - the Ghosts of Christmas Past, Present, and Yet to Come. Their haunting revelations force Scrooge to witness his own failings, the hardships of others, and the bleak destiny awaiting him. Awakened to the power of compassion and generosity, he greets Christmas morning as a transformed man - joyful, benevolent, and fully embracing the spirit of the season.

At the center of this transformation is Christopher Donahue, returning to the role of Ebenezer Scrooge with a performance that brims with nuance. Donahue embodies the character’s frosty detachment and biting cynicism with precision, while gradually revealing the vulnerability and humanity that make Scrooge’s redemption so powerful. His portrayal anchors the production, ensuring that audiences experience not only the spectacle of Dickens’ ghosts and festive scenes, but also the emotional depth of one man’s journey from isolation to generosity.

Surrounding him is an ensemble that blends the wisdom of seasoned Goodman veterans with the energy of exciting newcomers, forging a dynamic interplay that keeps the production alive and ever-evolving. Their chemistry, paired with imaginative staging and subtle special effects, ensures that longtime patrons experience the story anew while first-time audiences are swept into its magic.

Beyond the performances, the production dazzles with fresh choreography, inventive musical direction, revitalized design elements and special effects that elevate the performance. The stage becomes a canvas of contrasts: the eerie, otherworldly visitations of Marley and the Ghosts unfold with haunting theatricality, while the warmth and intimacy of the Cratchit household radiate joy and tenderness.

Every moment is meticulously layered with detail, reminding us that Dickens’ tale is more than a seasonal tradition—it is a living parable of generosity, compassion, and the enduring bonds of community.

(L-R) Jon Hudson Odom, Ella Boparai, Carmelo Kelly, Viva Boresi, Bethany Thomas, A’mia Imani, Henry Lombardo, Sól Fuller and Helen Joo Lee.

For close to fifty years, Goodman Theatre’s A Christmas Carol has stood as a defining ritual of Chicago’s holiday season—a theatrical gathering place where generations of families, friends, and theatergoers return year after year. More than just a retelling of Dickens’ classic, the production has become a civic tradition, woven into the fabric of the city’s winter celebrations.

This year’s staging carries that legacy forward with renewed vitality, reminding audiences why the story continues to resonate across centuries. At its core, A Christmas Carol is not simply the tale of Ebenezer Scrooge’s redemption; it is a parable about the power of empathy, generosity, and human connection. Goodman’s production magnifies those themes by transforming the theatre itself into a communal space - where laughter, music, and the haunting presence of Dickens’ ghosts converge to awaken the spirit of compassion.

The endurance of this holiday cornerstone lies in its dual nature: it is both deeply personal, charting one man’s journey from isolation to belonging, and profoundly collective, celebrating the bonds that unite a community. Each performance becomes a reminder that the true gift of the season is not material wealth, but the shared warmth of kindness and fellowship.

The cast assembled for Goodman Theatre’s A Christmas Carol is nothing short of outstanding. Christopher Donahue, stepping into the role of Ebenezer Scrooge after Larry Yando’s celebrated tenure, delivers a performance that is both commanding and deeply human. His portrayal captures the character’s sharp edges and biting cynicism, yet gradually reveals the warmth and vulnerability that make Scrooge’s transformation so moving - you can’t help but be won over by him. Donahue was nothing short of electrifying, also bringing a masterful sense of graceful physical comedy to the role. He embodied the rakish, childlike exuberance and sheer JOY that floods Scrooge when he discovers it’s not too late to transform his life.

One of the evening’s biggest laughs came as Donahue realized that only a single night had passed with the spirits—despite their showing him years of missteps and warning that he must change his ways immediately or face a hated death and generations of sorrow. The audience roared, and I’ve never heard such sustained laughter in this production before. It was pure delight.

Ella Boparai brings a radiant charm to Tiny Tim, embodying the innocence and hope that anchor the story’s emotional core. The ensemble as a whole is vibrant and cohesive, each member contributing to the production’s energy and richness.

Among the spirits, Bethany Thomas shines with grandeur and generosity as the Ghost of Christmas Present, while Daniel José Molina delivers a chilling, spectral presence as the Ghost of Christmas Future. Lucky Stiff rounds out the trio with a compelling and evocative Ghost of Christmas Past, guiding Scrooge through memories with both tenderness and gravity.

 (L-R) Christopher Donahue and Daniel José Molina.

Jon Hudson Odom brings remarkable depth to Bob Cratchit, embodying Dickens’ humble clerk with a warmth and sincerity that make him the beating heart of the production. His performance captures Cratchit’s quiet resilience and steadfast kindness, elevating the role from supporting character to emotional cornerstone. Odom’s nuanced portrayal balances gentle humor with the weight of hardship, reflecting the struggles of working families while never losing sight of Cratchit’s unwavering optimism.

In scenes with the Cratchit family, Odom radiates tenderness and devotion, particularly in his interactions with Tiny Tim. The father-son bond he conveys is both poignant and inspiring, a reminder of the fragile yet enduring hope that sustains the family through adversity. His presence underscores the stark contrast between Scrooge’s cold isolation and the Cratchits’ warmth, amplifying the play’s central themes of compassion, perseverance, and the transformative power of love.

Together, this company breathes fresh life into Dickens’ timeless tale, ensuring that every scene resonates with theatrical magic and emotional depth.

I wholeheartedly encourage audiences to experience this beloved Goodman holiday tradition - an annual production that never fails to capture the true spirit of the season. For anyone eager to embrace the warmth, wonder, and festive magic of Christmastime, A Christmas Carol at Goodman Theatre is the perfect way to step into the holiday “spirit.”

A Christmas Carol is being performed at Goodman Theatre through December 31^st. For tickets and/or more show information, visit https://www.goodmantheatre.org/show/a-christmas-carol/.

I've always had a deep fondness for the two timeless films Holiday Inn and White Christmas. These movies feature outstanding soundtracks composed by the legendary Jewish American immigrant Irving Berlin. With a repertoire of 1,500 remarkable songs, including the iconic 'God Bless America', Berlin also sparked a Christmas revolution with his deeply emotional and sentimental classic, 'White Christmas'. Few are aware that Irving Berlin experienced a personal tragedy when he lost one of his children to sudden death on Christmas Day in 1928. Despite this, Berlin, an immigrant, always conveyed his profound love for America through his music. Like in 'God Bless America,' he consistently expressed his deep belief in the nation's potential for goodness, unity, and global leadership. Marriott Theatre's White Christmas is a heartfelt tribute to Irving Berlin and offers a wonderful opportunity for audiences to embrace the Christmas spirit.

White Christmas revolves around two talented entertainers, Bob Wallace (Ben Mayne) and Phil Davis (Tyler Johnson-Campion), who form a successful song-and-dance duo after World War II. They encounter singing sisters, Betty and Judy Haynes (Jacquelyne Jones and Kelly Felthous), and follow them to a Vermont lodge owned by their former army commander, General Waverly (Rom Barkhordar).

With the lodge facing financial difficulties due to a lack of snow, the group decides to stage a spectacular show to attract guests and save the establishment. Along the journey, romance blossoms between Bob and Betty, as well as Phil and Judy. The film is filled with memorable musical numbers, including the iconic "White Christmas," and concludes with a heartwarming and festive celebration.

Linda Fortunato directs and choreographs this dynamic in-the-round production, seamlessly transitioning from one spectacular showstopper to the next throughout the evening. The show is further elevated by its four exceptionally talented leads, who bring delightful moments of romance, dancing and humor to the stage.

Ben Mayne initially portrays a slightly stoic Bob Wallace, the character originated by Bing Crosby in the 1954 film. However, as the performance progresses, Mayne’s sensitive acting beautifully reveals Wallace’s transformation from a man guarded and wary of love to one who is deeply and undeniably in love. Meanwhile, Tyler Johnson-Campion dazzles as Phil Davis, a role originally brought to life by Danny Kaye. His immense talent as a singer and dancer repeatedly brings the audience to their feet, with tap-dancing performances that seem to defy gravity and overflow with the exuberance of newfound love. 

Jacquelyne Jones, playing Betty Haynes—a role famously portrayed by Rosemary Clooney—delivers a poignant and heartfelt performance in 'Love, You Didn’t Do Right By Me,' capturing the depth of female grief with striking authenticity. Together, Mayne and Jones enchant the audience as their characters fall in love, beautifully showcased in their renditions of Berlin's exquisite love song, 'How Deep is the Ocean.' While Jones treats the audience with a wonderful performance, Kelly Felthous shines as Judy Haynes, a role played by Vera-Ellen in the film version, bringing an infectious joyous energy and singing with great glee and charm. Felthous and Tyler Johnson-Campion, both exceptional dancers, leave the audience in awe with their expert hoofing in the hugely romantic and fun number 'The Best Things Happen While You’re Dancing.'

Jacquelyne Jone and Ben Mayne in Marriott Theatre's 'White Christmas.'

Rom Barkhordar shines as General Henry Waverly, Wallace and Davis’s retired commander, bringing a blend of humor and warmth despite his gruff exterior. Meanwhile, Robin R. McGee delivers a truly breathtaking performance as Martha Watson, Waverly’s dedicated helper and hotel manager, with her rendition of 'Let Me Sing and I’m Happy.' McGee possesses an indescribable vocal range, delivering her performances with the power and grace of a seasoned star who dazzles brighter than ever. 

White Christmas is a delightful musical, brimming with wit and fun, featuring memorable song and dance numbers that truly leave a lasting impression. Among the numerous standout moments, the entire cast's rendition of “Blue Skies,” set against the breathtaking backdrop of real snow falling in Vermont, is a spectacular and uplifting highlight that will stay with me throughout the winter season.

I wholeheartedly recommend this timeless yet refreshingly vibrant production, brimming with Irving Berlin's endlessly inspiring and romantic music. It's perfect for audiences of all ages who wish to take a joyous journey into the past and fully savor the upcoming Holiday Season.

"Snow, snow, snow, snow, snow!"

White Christmas is being performed at Marriott Theatre through December 29th. For tickets and/or more show information, click HERE.

It’s a truth universally known that the holidays aren’t always a great time for everyone. Holiday traditions and expectations can often leave us feeling emotionally void or overwhelmed, particularly with how bleak 2023 has been for so many. But in every darkness there is joy to be sparked and light to be found, if one is willing to look for it. This holiday season I discovered a shining light in the The Jinkx & DeLa Holiday Show at Auditorium Theatre. 

The Jinkx & DeLa Holiday Show is an internationally acclaimed holiday variety show returning to Chicago following the massive success of their previous holiday tours. Co-written, co-created, and starring global drag icons and RuPaul’s Drag Race stars BenDeLaCreme and Jinkx Monsoon, fans braved the winter cold to witness a fabulous spectacle, whip-smart comedy, and creative song parodies embodying and cleverly critiquing holiday traditions. 

The holiday show harkens back to classic comedy variety shows that used to dominate television and stage. Jinkx and DeLa are an iconic and dynamic duo, with quick and witty banter and humor that is conflict free, a rarity in today’s comedic world. Even more impressive is that the show is entirely helmed by the queens themselves, with BenDeLaCreme in the producer and director’s chairs.  Too often, queer and drag stories are written and produced by people outside of the community. The Jinkx & DeLa Holiday Show and BenDeLaCreme Presents are reminders why authentic queer storytelling is not only necessary but should be widely celebrated. BenDeLaCreme says, “With all the hatred, darkness, and misinformation flying around our world today, it is an honor and a privilege to spend the holidays with tens of thousands of audience members each year, creating joyous community spaces where we can gather strength through laughter and celebration. Whether you consider it the most wonderful time of year or the most troubling, we’re here to tell you… you’re right! So let’s make it our own.” Monsoon adds, “It’s been a wild year, so let’s end it wildly. DeLa and I strive to entertain while we enlighten and enliven. The Jinkx & Dela Holiday Show is not only a moment of respite, but also of community, at a time where we need our chosen family and community most of all. So add us to your holiday plans, or let us BE your holiday plans— either way, you’re welcome to join us.”

The Jinkx & Dela Holiday Show is a shining light within the darkness, and truly a magnificent experience. The Auditorium Theatre audience were loyal followers of Jinkx and DeLa, many having seen their 2023 show in multiple cities on their tour, while others were back for their yearly tradition of seeing the iconic duo perform. In talking with Jinkx and DeLa, we learned this year’s holiday show changed the formula of the variety show, pairing the usual sweet vs. spicy duo as a united front, emphasizing the core message of togetherness and unity amidst an ever divisive and polarizing world. At the end of the show, the stars beseeched the audience to carry the joy, laughter, and love exuded and felt throughout the show out into the dark world; to spark that light within others and be the light so needed in the darkness. With everything that has happened in 2023, and the last few years,  Jinkx and DeLa have channeled their worry, frustration, and anxiety into a beautifully crafted show filled with lightness, and have created an enduring and worthwhile holiday tradition sure to be enjoyed for years to come.

Though the tour only visited Chicago for one night, this show is sure to become a staple in Chicagoland, only growing and getting better with time. One of the prevailing themes of this year’s variety show was that while our traditions anchor us to the holiday season, we can consistently look within ourselves and our communities to create new traditions or adapt and grow our old traditions. And most importantly, if we cannot find a light within the darkness, we ourselves can be the light for those around us. I cannot wait to add The Jinkx & Dela Holiday Show a must-see holiday tradition and I’ll see you all there in 2024.

This year’s tour will run through December 30 across the US, UK, and Canada with the show that proves they’re still the reigning “queens of Christmas'' (Entertainment Weekly). Tickets are available at JinkxandDeLa.com. 

As twinkling Christmas lights return to Michigan Avenue and holiday themed bars pop up in trendy neighborhoods, Chicagoans are kicking off their pre-winter days by flocking indoors. Fortunately for us, Chicago theatre continues to deliver an exceptional lineup of classic holiday favorites and new ingenues hoping to become a staple in the cold winter months. One such production is “Christmas With Elvis” by Terry Spencer Hesser, directed by Dexter Bullard playing at the charming Chopin Theatre.

“Christmas With Elvis” tells the story of a lonely, anxious and slightly angry woman who discovers, on Christmas Eve, that her ex-husband is getting remarried. Before she can indulge in her misery, the very dead and not too debauched ghost of Elvis Presley appears in her apartment. The two-person cast features Brenda Barrie (Trudy) and Victor Holstein (Elvis).

The premise of “Christmas With Elvis” is captivating; a lonely woman with a bevy of mental and physical health issues puts on an old vinyl record, Elvis crooning “Are you Lonesome Tonight.” Answering the vinyl record, she soon gets to answer Elvis, the King, in person as he appears in her Chicago apartment. After getting past the initial shock, both characters begin to share their feelings as they unpack what brought them to that moment on Christmas Eve. As wonderful as the premise it was, the play itself had some consistency issues with the character development. Trudy is plagued with a bevy of health issues from anxiety to alcoholism to an eating disorder. With so many issues, it struck me as odd that when Elvis questioned Trudy about what an eating disorder was, she replied crudely with “it’s a diet that works.” It wasn’t the fault of the actor, it was just dialogue that didn’t quite fit. In the same first act, Elvis chastises Trudy by telling her he didn’t drink as much in life as she claimed, only to turn around and order an entire case of Jack Daniels to be delivered along with eleven dominos pizzas for them to eat. Little lines and moments like this pull you out of the magical moment, quaking your eye at the oddity of the dialogue. The starkest example of this was at the end of the first act, Trudy admitting to Elvis she wasn’t a huge fan of his music, even when he was alive, as Elvis flips down her couch into a bed. The scene moves rapidly to Elvis crooning out some of his biggest hits to Trudy, while Trudy writhe like a sixties Elvis fan, driving herself to orgasm as the doorbell rings with their delivery.

There were some incredibly tender and raw moments of dialogue between Trudy and Elvis, Barrie and Holstein had a real chemistry that was palpable throughout the two actor’s time on stage. Holstein had incredible vocals and truly captured the King’s mannerisms and cadence, even if it were a bit stereotypical. From the moment Barrie walked onto the stage she commanded your attention, able to portray a woman alone in her apartment, admittedly not in her finest moments or appearance. She played a lonely and broken woman, finding solace with an icon and the simplest of Christmas lights. The characters Hesser created could have really driven deep into the parallels the characters had, gone deeper into the concept of loneliness. It was noted in the playbill that someone “did not understand Elvis until they got divorced,” indicating it took a certain mindset and mood to really understand the sadness, love, and loneliness captured in Elvis’ music. While that was the prevailing theme of the play, some of the attempts at sarcasm and levity fell flat or fell back on commonplace language and stereotypes, when the material and premise offered and promised more.

Overall, Barrie and Holstein were an incredible duo to watch. Holstein’s renditions of "Love Me Tender", "Don't", and “Blue Christmas” felt like you were listening to Elvis incarnate, and Barrie is a Chicago talent that will have a long and prosperous career ahead of her. For a magical night out, “Christmas with Elvis” is a dramedy with a lot of potential, promising to, at least for the evening, stay off the blues during this Christmas season.

“Christmas With Elvis” is now playing at the Chopin Theater, 1543 W. Division, Chicago through January 7. For tickets, visit www.Chopintheatre.com.

From the moment the sisters along with Mother Abbess sang “Maria” in one of the show’s earliest numbers, I knew I was in for a special performance. Their voices soared through the theater with a magnificence beyond what I had hoped. And when Mother Abbess (so richly performed by Susan Moniz) sang the final line in the song, “How do you hold a moonbeam in your hand”, it nearly brought tears to my eyes – just the beauty in her voice and the compassion within her words.

Paramount Theatre is currently taking on one of the most timeless musicals ever created in stage history in Rogers and Hammerstein’s “The Sound of Music”. And though many excellent renderings of this musical have come through Chicago over the past several decades, I can only imagine that this production would join the others among the best produced, casted and performed. From its majestic sets that seamlessly change from scene to scene to its large catalog of masterpiece musical theater numbers, this production wows the audience one scene after another.

The Sound of Music is based on the 1949 memoir penned by Maria von Trapp The Story of the Trapp Family Singers. The story was first staged on November 16^th, 1959 at the Lunt-Fontanne Theatre before being released as a film in March of 1965 where it won just about every award imaginable, taking off internationally thanks in part to memorable performances by Julie Andrew and the late, great Christopher Plummer. Taking place in 1938 Salzburg, Austria, its story revolves around Maria, a wannabe nun that might not be quite ready for life in The Abbey. Wanting her explore life again on the outside before committing to sisterhood, the Mother Abbess sends free-spirited Maria to serve as a governess for the widowed Captain Georg von Trapp, a retired naval officer, where she would care for his seven children. Georg is strict and has distanced himself from his children since his wife’s passing. His children now answer to whistles and march as though they were in the military. Maria becomes intent on not only breaking through to the children (who are now on their seventh governess) but also connecting them once again with their father whom they once knew much more closely. While doing so, unexpected feelings emerge between Maria and Georg. At the same time, Nazi Germany is spreading throughout Europe, Austria being no exception. The beloved country was being annexed by Hitler’s dark empire. But Georg is a devout Austrian and refuses to serve under the Third Reich. So, then the story also becomes one of escape.

For a Sound of Music production to work well, Maria must be cast well. And in Paramount’s production, they have done just that. Alicia Kaori is extraordinary. She gives us a Maria who is playful, warm, understanding, loyal, devoted, brave and adventurous. She brims with confidence when needed yet occasionally wrestles with her doubts. Kaori’s vocals are also impressive - her range is remarkable.

The remainder of the cast is superb.  As mentioned prior, Susan Moziz excels as Mother Abbess though excellence is also found in Christopher Kale Jones’ portrayal of Captain Georg von Trapp. He does a great vocally but also in capturing the captain’s exacting behavior while showing his vulnerability and his need for love again. With a cast so large, the standouts are plentiful. Included in that group would be Julia Aragon as the eldest von Trapp sibling, Liesl – one of the show’s highlights being her and Rolf’s (Michael Harp) rendition of “Sixteen Going on Seventeen”. Stephen Schellhardt as Max Detweiler and Nellie Shuford as Baroness Elberfeld are both quality additions and take on their roles with much aplomb. The children are fun to watch as their talent should not be overlooked, as well as the production’s ensemble roles.

Every aspect seems to have been taken in consideration while creating this production. The sets, massive and detailed, take us inside the von Trapp home so much that we, the audience, almost feel we are invited guests during the party scene and concert goers during the Sazburg Music Festival. The costumes are rich and painstakingly precise, giving the production an element of authenticity at every turn.

If you are already familiar with the story and are looking forward to hearing to hearing such classics as “Do-Re-Mi”, “Edelweiss”, “So Long Farewell”, “Climb Ev’ry Mountain” or its exhilarating title track, “The Sound of Music”, you will not be disappointed. If you’ve never seen the film or staged production before, you will undoubtedly become a fan.

Adeptly directed and choreographed by Amber Mak, this incredible production of The Sound of Music is being performed at the Paramount Theatre through January 14^th. For tickets and/or more show information click here.

Highly Recommended!

When I was in college, a roommate shared their obsession with a Christmas movie I had never seen, the 2003 Will Ferrell film Elf. Over the next few years, she would religiously play Elf on replay during each fall semester with proclamations it was the perfect "it’s the perfect cozy weather” movie, to “it's almost the holiday season" movie, followed by "let's kick off the holiday season" movie, until it was the inevitable "It's Christmas!" movie. Upon graduation, I was Elf-d out and the film eventually made way for other holiday classics like Die Hard. As Elf approaches its 20th anniversary, it found it’s unlikely way back into our holiday shuffle, migrating from the movie to the stage. Elf-the Musical brought Christmas early to Chicagoland.

From the minute you enter the lavish and sparkling Drury Theatre, you are taken into another world. People here are smiling, shiny, welcoming, and prone to breaking into spontaneous song and dance; and those are just the theatre guests! Elf-the Musical draws nostalgic millennials, rosy cheeked children, musical theatre lovers, and theatre supporters alike to this soon-to-be holiday stage classic. Elf-the Musical follows the story of Buddy the Elf, who after discovering he is really a human raised as an elf, makes the journey from the North Pole to New York City to find his birth father, sharing the true meaning of Christmas along the way. Based on the hit holiday film, Elf- the Musical brings heart, hilarity, and holiday joy.

Admittedly, I was not particularly in the holiday mood, as my Elf PTSD was still strong. But I challenge anyone to not crack a smile with the opening musical number of “Happy all the Time” performed by Santa, played by A.D. Weaver, and Buddy, played by Jake Morrissy, along with the hilarious ensemble cast. As the musical progressed, the familiar story came to life in a new way, with clever dialogue sprinkled with double entendres and fantastic recreations of the Elf storyline with musical numbers like “Sparklejollytwinklejingley” performed while Buddy and the cast members decorate the department store for Santa’s arrival. There were beautiful songs like “A Christmas Song” where Buddy’s reluctant Christmas-hating love interest Jovie, played by the incomparable Juanita Anderson finds Christmas cheer by signing loud for all to hear. There are also sweet surprises like the number “I believe in you” wear Emily Hobbs, played by Melodie A Betts, and Michael Hobbs, played by Gabriel Solis, a Christmas letter to Santa asking nothing more than the attention of a father and husband, Buddy’s dad Walter, played by Sean Fortunato. 

Why Elf of all the holiday movie options? I think Elf-the Musical Director Lynne Kurdziep Formatp says it best "after two full Christmas Holidays missed due to COVID pandemic, with inflation, hurricanes and war in the news on a daily basis, it seems the PERFECT time to be reminded that we need to continue to BELIEVE. We can be a light in the world by sustaining the Christmas spirit year-round as we remember that family, friends, people of all ages and backgrounds are what makes the world go round."

This Christmas, and future holiday seasons, will have families, musical theatre, and holiday lovers flocking to the theatre with this soon-to-be holiday favorite. Because even after nearly 20 years, the classic story of Buddy the Elf brought to the stage truly captures the holiday spirit; and perhaps this musical proves Buddy and Santa’s elves are right, that “the best way to spread Christmas cheer is singing loud for all to hear.” Elf the Musical is playing at the Drury Theatre in Oakbrook through January 8, 2023. Tickets are available at www.drurylanetheatre.com.

What first made its mark on Broadway ten years ago in November 2012, has now become a traditional holiday play for theater goers to attend – when it comes to town. Based on the mega-popular film, A Christmas Story: The Musical is regularly being mounted by theater companies come November for families to enjoy. Already well-equipped with the humor, timeless plotline and loveable characters from A Christmas Story, the musical adds to that by bringing in a massive selection of numbers written by Pasek and Paul (book by Joseph Robinette) that make this a big stage event that is sure to get everyone in the holiday spirit. And while so many films or TV shows don’t really translate to the live stage, A Christmas Story: The Musical does.

Based in Small Town, Indiana, the story revolves around a family in 1940, Ralphie Parker specifically, wonderfully played in this production by Kevan Newman (also played by Keegan Gulledge in alternating performances). Christmas is around the corner and all Ralphie wants is the Red Ryder Carbine Action BB Gun. But whenever he brings up the BB gun to anyone, he is promptly shut down and told “You’ll shoot your eye out,” repeatedly his hopes are dashed, but Ralphie can still dream. Ralphie gets a brainstorm when his teacher, Ms. Shields (fantastically played by Jenna Coker-Jones) hands out an assignment for her class to write an essay on what they would like for Christmas. Simple, Ralphie will write about the Red Ryder Carbine Action BB Gun, and everyone will be so impressed his parents will have no choice but to gen him the gun. Well, not so simple as a series of hilarious sequences take place and Ralphie’s Christmas plans are not looking so certain.

At the same time, Ralphie’s father cast as The Old Man and brilliantly played by Lorenzo Rush, Jr., has finally won a prize for his relentless efforts at a crossword contest (thanks mainly to the help of his wife deftly played by Sara Reinecke). The prize might not be close to the generous cash awarded for the top spots, but it’s a prize – and it’s his prize, and he couldn’t be prouder of his tacky lamp of which its base is that of a show girl’s leg. He places it so it is displayed in the home’s from window and he is the envy of his neighbors.  

That lamp is just one more reason for holiday cheer in the Parker household.

The dynamics of Ralphie and his family 1940’s living is just so enjoyable to watch and the surrounding characters in this funny musical have so much to offer. Seasoned actor, Kevin McKillip, narrates the story as a grown up Ralphie looking back and reminds us why he considered one of the finest stage performers in the Chicago area. His timing is impeccable. And going back to Coker-Jones, she is most certainly another one of the show’s standouts, while Lorenzo Rush, Jr. is a thrill to watch in just about every scene he is graces us with – and, wow, his singing voice!

Performed in the round at Marriott theatre, A Christmas Story: The Musical is a holiday hit that has it all. From its nonstop laugh out loud scenes to its big, colorful song and dance numbers to its warm and moving story at its core that centers around family, this is a sure-fire treat to add to this Christmas season’s to do list.

A Christmas Story: The Musical is being performed at Marriott Theatre through January 1^st. For tickets and/or more show information click here.