Displaying items by tag: Skokie

There’s an old adage that says something along the lines of “don’t judge a book by its cover.” The same wisdom can most certainly be applied to playbills. More often than not the title of a musical describes exactly what the theatre piece will be about; Hamilton is about Alexander Hamilton, Annie is about an orphan girl named Annie, Wicked is about, you guessed it, a wicked witch. Following this same logic you think I’d have known what Godspell would be about prior to seeing the show. But I, ironically, judged incorrectly and found myself judged. Having heard the name in musical theatre circles and knowing it was a Broadway darling for years, I was genuinely surprised to find that Godspell was not some spooky musical about casting spells or witchcraft and wizardry but a musical based upon the gospel according to St. Matthew. Boy did I judge that book by its cover.

Godspell is a musical based on the Gospel of Matthew, which tells the story of Jesus through a modern-day group of non-Biblical characters symbolizing his "disciples" who enact his parables through song, dance, and comedy. This production of Godspell finds a fractured and disconnected community gathered at a local coffee shop discovering the transformative power of forgiveness and embracing radical love.

Like any theatrical experience patrons must have a willing suspension of disbelief. There is a burden to check all preconceived biases at the door and allow themselves to be immersed into another world for a few short hours. That’s where the magic of theatre resides, with oneself. For the first act of Godspell, I regrettably did not suspend my disbelief. I found myself resistant to the words, given they were word for word from the Gospel of Matthew. Bearing in mind I had not researched the play nor even studied the synopsis, merely checking off the show from my musical theatre bucket list, I went into the theatre not knowing anything about this play. Two songs in and I found myself not in a cushioned theatre seat but in a hardbacked pew, wondering how everyone around me was smiling and laughing while I sat questioning what was going on and pointing out hypocrisies and double-standards. Godspell is nearly word-for-word the gospels and include infectious pop and rock songs like “Day by Day,” “Prepare Ye the Way of the Lord,” “O Bless the Lord My Soul” that one might hear in any new age church. I felt myself rejecting the play, the words that were being said, the songs that were being sung, even wondering how so many people in the audience knew the play word-for-word, bar-for-bar. Surely this is just propaganda? Surely this is some kind of joke. But then it hit me. I’m being critical in the worst way. I’m judging this book by its cover. I allowed my preconceived biases to blind me of the possibility of a great show. I quickly cast away my disbelief.

Godspell was phenomenal. Debuting in 1970 with music and lyrics by Stephen Schwartz, the musical has been a consistent success, even becoming a major motion picture staring Victor Garber as Jesus. Music Theater Works’ version, directed by Matthew Silar, choreographed by Amanda Hope and music directed by Justin Kono, modernizes the play in a way that is not pandering or patronizing. Rather it weaves the play’s central theme and message with real people, quick witted humor, exceptional improv, and genuine love and care. While the context of the play can be preachy and heavy handed, as the Bible tends to be, this production is surprisingly light thanks to local Chicago talent like Jacob Simon as John the Baptist, Tafadzwa Diener, Dani Pike, and Ben Woods as the café community members. The intentional care and lightness the cast bring to their performances make you forget you’re listening to preachy gospel. You’re not being preached to, rather, you’re following skeptical and reluctant patrons find meaning in the words spoken at the open mic night by Jesus himself, exceptionally played by Eldon Warner-Soriano, and experiencing the lessons through clever and well-timed improv. Coupled with the talented cast, Silar’s version of Godspell strips away the heavy handedness, allowing the cast of characters to be their goofy-sometimes-awkward-yet-no-less-hilarious selves while still delivering impactful messages about loving your neighbor and forgiving others as you would want to be forgiven. It’s clear the cast and crew checked any preconceived biases at the door when staging this musical. Were one to have no prior knowledge of the Bible, the gospels, or religion itself, they’d find themselves immersed in a world of good words and teachings of love and acceptance one could find in dozens of books from Harry Potter to The Song of Achilles.

In today’s political and cultural climate, Godspell is a risky choice to put on. It was easy to allow that thin magical line between the real world and theatre to blur. It was easy to bring the real world with me when I ventured into the theatre. It was even easier to be stubborn and reject something simply because I don’t like how some people interpret, use, or weaponize the gospels. Personally, I think those very same people would do well to suspend their biases and see Godspell and be reminded about the true meaning and purpose of the very book they preach about. That being said, I think putting on Godspell in today’s political and cultural climate is not only important, it’s essential. The content of the play and Silar’s beautiful production will no doubt being necessary dialogue and spark conversation and ask audience members to reflect on the play vs. their defined ideals. Godspell is just a story of a man, told through the eyes of another man, and performed by exceptionally talented individuals. Or is it something more? Was this play preachy or did it have some real-life lessons and messages to take away? Do I reject the play or do I reject how others interpret the context behind the play? Am I being critical or skeptical? Hypocritical even? Hell, soon we’ll all be flocking to theatres to see a cinematic production about a wicked witch and will probably have very little issue suspending our disbelief as we watch a witch flying on a magical broomstick with her army of flying monkeys. So I implore everyone to keep that same energy when viewing this production of Godspell. At the end of the day, it’s just a show, and gods know we can all use a bit more magic in our lives, even if it limited to the theatre.

Godspell is presented by Music Theater Works and is sponsored by the Whirled Peas Foundation and presented in partnership with Curt’s Café. It is playing now through November 16^th at The North Shore Center for the Performing Arts in Skokie (9501 Skokie Blvd, Skokie). Tickets are now on sale from $19.50 to $106 with tickets for guests 25 years old and younger available at half-price at MusicTheaterWorks.com or by calling the Music Theater Works box office at the North Shore Center, 847.673.6300.

Do we ever really know what someone is going through? We devour what people create, savoring the beauty in their art; we read the words they write, feel the emotions they convey, listen to the music they play, but do we really know what is just beneath the surface? One is left asking this question after viewing the masterpiece that is Twisted Melodies now playing at Northlight Theatre.

Flashback to 1979, when singer and composer Donny Hathaway was a soul music icon, known for R&B hits and his duets with Roberta Flack. Twisted Melodies is a mesmerizing one-man show that immerses us in a day with the brilliant artist, who seeks solace in the music that has always been his salvation. Powerful renditions of songs like “More Than You’ll Ever Know,” “The Ghetto,” and “The Closer I Get to You,” illuminate the enduring power of this talent. Torn between inspiration and his ongoing inner struggle, Hathaway grapples with his life in a gripping performance by Kelvin Roston Jr.

Unlike jukebox musicals that celebrate the life and music of the artist it portrays (think Jersey Boys about the Four Seasons or Just In Time about Bobby Darin), Twisted Melodies offers a new approach to viewing Hathaway’s life and career. We’re with Donny as he isolates in a hotel room, recording music. We learn about his life through captivating stories told from the first-person perspective. We hear his music sung by Hathaway as he recalls the people or events in his life that inspired the songs. We experience, even momentarily, what Donny must have experienced in his life, living with schizophrenia with visual distortions and haunting voices. The first-person storytelling of Hathaway’s life reveals the man behind the artist we know, his personality, his solace, and his demons. The play is not only an homage to the singer-songwriter’s life. “Twisted Melodies is a labor of love,” says playwright and performer Kelvin Roston Jr. “It’s much more than a solo jukebox musical. I chose Donny Hathaway as my muse for his amazing music and musicianship, yes, but also because of his struggle with paranoid schizophrenia. We generally ignore, make excuses for, hide, or even make fun of those dealing with mental illness. Donny Hathaway left an incredible amount of himself and his struggles in the lyrics he wrote, the notes he played, and the tones he bent and swelled with as he sang.”

Twisted Melodies perfectly captures the beauty and struggle of the late artist, and Roston Jr. belts Hathaway’s ballads with such reverence and respect, creating beautiful harmonies and scales that tickle your brain as beautifully as Roston Jr. tickles the ivory, playing throughout the one-man show. Roston Jr.’s tones and range capture the fire and the fury of Hathaway’s genius, challenging the audience to see beyond the notes and see what the artist was going through on that fateful night in 1979. Donny Hathaway tragically passed away at only 33 years old in a rumored solo exit performance of his own. The Chicago-born artist left behind a legacy that influenced or inspired dozens of modern-day artists, including Elton John and Amy Winehouse. Hathaway was even named the 49^th-greatest singer of all time in a 2010 list published by Rolling Stone Magazine.

It's tragic how we often don’t know what someone is going through until after the person is no longer with us, particularly when it comes to something like mental health. But what a blessing it is to know that a story like Twisted Melodies can help to remind us that we’re all going through something. Like Donny Hathaway, we can find our solace, our stories, and ourselves in the things we create, using our art to help others understand what we are going through. Twisted Melodies runs through August 10^th at Northlight Theatre (9501 Skokie Blvd, Skokie). Tickets for Twisted Melodies are available at www.northlight.org

It’s still fairly early in the evening. At this point, the turkey is in the oven, and Jane and Luna are each a couple sips into their bottle of wine. Conversation is nervous. The two women still do not know each other too well, and while Luna is ready with her conversation starters, Jane remains more hesitant. They don’t quite know where to sit, and while they can tell the other feels awkward, neither knows how to comfort the other.

Then, the subject of music comes up. Not only do they both enjoy disco, but it becomes clear that they both love to dance. Luna runs to get the radio and upon finding the right station, the entire mood shifts. Luna begins a dance step – inviting Jane to follow. Then it’s Jane’s turn to lead, and the two continue to switch off – each inviting the other to meet their level of silliness and joy. As the two laugh and dance, it becomes clear they finally found the push they needed. Now that the ice is broken, a friendship can truly blossom. The audience at this performance was laughing right alongside the actors – making it clear that the fun was spreading and we as witnesses were ready to see this friendship succeed.

Written by Lloyd Suh, The Heart Sellers takes place on Thanksgiving of 1973 – inspired by the Immigration Act of 1965 (or the Hart-Celler Act). Luna (Aja Alcazar) and Jane (Seoyoung Park) are recent immigrants, having moved to the United States with their husbands who are forever busy with their residencies at the hospital. Alone on this holiday, Luna invites Jane on a whim to her apartment – where they share a bottle of wine and attempt to cook a frozen turkey. Over the course of the story, we witness these strangers begin to bond. While the conversations begin hesitantly, the two slowly open up. As they slowly transition from conversations about their workaholic husbands to deeper reveals of dreams and hopes for the future, you might just find it’s impossible not to lean in and share that joy alongside them.

Skillfully directed by Helen Young, the production is intimate and full of good humor. Young’s artistic team does a stellar job extending that charming energy throughout the theater. Scenic Designer John Culbert welcomes the audience into Luna’s small, colorful apartment. With the close-knit feel of Northlight’s space, it’s hard not to feel like you are in the apartment alongside the women – which is certainly ideal for a two-hander like Suh’s play.

At its heart, this is a story about a blossoming friendship, and the artistic team focuses their designs on highlighting the women at the center – making it easy to enjoy the genuine chemistry between these two talented actors. As much as this production is full of warmth, the story carries its heavier moments – particularly as the women discuss their challenges around coming to a new country and leaving their families behind. Alcazar and Park move through these ups and downs with grace, creating an emotional roller coaster that you might find sneaks up on you as you realize how invested you are in the story. 

Standout performances and a moving script alone make The Heart Sellers an enjoyable evening at the theater. Given the current backdrop that currently lives in our country, you might also find that this Suh’s exploration of an important moment for immigration also makes the production a potent and relevant one.

RECOMMENDED

The Heart Sellers runs through February 23 at Northlight Theatre – 9501 Skokie Boulevard. See the Northlight Theatre website for more information regarding tickets.

Unlike many of the shows I review, which I’ve often seen in other productions elsewhere, I went into Music Theater Works’ current production of Legally Blonde blind. Other than the couple-decades-old movie the musical is based on, along with a covid-era TikTok fascination that my daughters had with a particular song from the show, I knew nothing about it. That’s always kind of refreshing, isn’t it?

Well, I went into the North Shore Center—always an enjoyable place to see a show—pretty much clueless and I left entertained.

You can tell director Mandy Modic has a real knowledge of, and love of, the source material and the show. Everything is thoughtfully laid out and beautifully executed. This is a put together show, just like the main character, Elle Woods.

Kayla Shipman, starring as Elle, has high heels to fill but she fills them well. As Elle grows and learns about herself, Shipman’s performance becomes more confident and assertive as the show progresses, making this the Y2K roman a clef the story calls for. The supporting cast sings, dances, and acts as Elle takes her journey—filling the show with the memorable people she meets. Korey White looms over proceedings as authoritative and suspect Professor Callahan. Amanda Handegan’s fitness-queen-turned-accused-murderess Brooke Wyndam brings us back to the days of the aerobics DVDs she’s shilling—before launching the show’s uproarious second act with an orange-is-the-new-black prison jump rope number. And Khaki Pixley’s hairdresser Paulette Buonofonte takes us to a whole other world every time we enter her salon, a realer world far from snooty tweed higher education or Greek life.

Each of the worlds we enter in this show are beautifully created by Scenic Director Shane Cinal. From Elle’s sorority house to the hallowed halls of Harvard to Paulette’s beauty parlor, each set pops visually and transports the audience.

But, like many good shows, it’s the ensemble that makes this one. Each and every member of this cast gives it their all. From sorority sister singalongs to a Greek chorus, from folks getting perms to a courtroom full of plot twists, the ensemble created each scene and populated it with movement, humor, talented vocals, and humanity. And each member received their moment to make the audience hoot and holler—with Isaiah Engram’s deliveryman Kyle getting the most hoots.

The movement of the show is thanks to the ensemble’s talent, but also features wonderful choreography by Mollyanne Nunn—she puts all of this talent to work in dance after dance and showtune after showtune, filling the stage and catching our eyes from every part of it.

Oh, and that TikTok song I mentioned before? That’s here, too. Morgan Schoenecker leads Elle and the ensemble through the “Bend and Snap,” and the number hasn’t lost any of its charm—for the audience or for the aforementioned daughter who was watching Legally Blonde with me.

Like other shows I’ve seen at Skokie’s North Shore Center, this was a thoroughly enjoyable production. Music Theater Works and Mandy Modic take their audience back two decades to tell us a timeless tale, one you’ll find in Legally Blonde, playing now until December 29.

I am delighted that Northlight Theatre chose to produce The Flying Lovers of Vitebsk, penned by Daniel Jamieson and expertly staged and directed by Elizabeth Margolius, especially given the alarming rise of antisemitism currently sweeping the country.

The Flying Lovers of Vitebsk is a play that tells the love story of the famous Jewish artist Marc Chagall born Moishe Shagal and his wife, writer Bella Rosenfeld. Set against the backdrop of early 20th-century Vitebsk, the narrative explores their relationship as they navigate significant historical events such as the Pogroms, the Russian Revolution, and the rise of fascism in Europe. Marc Chagall, a renowned painter born in the small town of Vitebsk, where he met his wife Bella, lived to the age of 97. Such a ripe old age, despite the harrowing events depicted in the play, where he and Bella flee the brutal pogroms in Russia and the Nazi atrocities in Europe, Chagall’s resilience and longevity stand out. The play masterfully intertwines dance and music along with gripping dialogue to narrate the couple’s journey through some of the most turbulent periods of the 20th century, leading up to the Nazi occupation of France while focusing on the couple’s strong relationship and strength. 

Jack Cahill-Lemme portrays Chagall with a focused optimism and an unwavering devotion to his Jewish bride, Bella, capturing the essence of love at first sight from their very first encounter. As Cahill-Lemme follows and admires Bella moving across the stage, his unwavering pursuit of her love is evident. His character’s elegant movements, captivating smile and dreamy expression reveal that his attention is entirely devoted to her. Cahill-Lemme’s longing  gaze envelops Bella, reflecting his profound love, devotion, and undeniable attraction. Interestingly, during their first encounter, he asked her to pose nude for him, a common practice among painters of that era. Jack Cahill-Lemme is a rising star who was most recently seen on Broadway in the National Tour of Moulin Rouge alongside Boy George and has taken on roles at Marriott Theatre and Paramount Theatre among many other Chicagoland theaters. Rosenthal has also made her mark in the theater world, appearing at Drury Lane Theatre, Steppenwolf Theatre and Writers Theatre.

Emma Rosenthal portrays Bella, the love of Chagall’s life with a tremendous amount of energy and childlike wonder. Her character is a fiery, headstrong, and intelligent woman deeply in love and devoted wholly and joyously to her passionate and genius husband, and their child. Rosenthal’s performance radiates with the spirited energy of a Jewish woman who has found both her true love and her destiny as his inspiration, especially evident in their numerous dance numbers and songs together. 

It was fascinating to see that instead of using the stained glass painting of the flying lovers as a backdrop, the simple yet modern set allowed each dance number between the two lovers to evoke the painting’s uplifting joy and the lifelong physical attraction that inspired the most famous painting by Chagall of all time.

The live music for the show, performed by musical director Michael Mahler and Alyssa Carlson, featured a mix of new and old instruments, including the piano. Their performances added depth to the many wonderful song and dance numbers, which were delivered in various languages, including Yiddish, Russian, French, and English, creating a powerful emotional impact.

Marc Chagall was ahead of his time in many ways and faced rejection in his Russian homeland despite his worldwide acclaim as a pioneer of the art movement now known as Impressionism.

Under the guidance of Artistic Director BJ Jones, The Flying Lovers of Vitebsk captivates audiences with its compelling narrative that holds their attention from start to finish. The production is brought to life with its talented cast along with music by Ian Ross, stage and movement direction by Elizabeth Margolius, and musical direction by Michael Mahler.

I highly recommend this beautiful, moving, and joyful 80-minute one-act production for audiences of all ages. It offers a wonderful opportunity to learn about Jewish history and the arts in a setting that celebrates the relationship between artist and muse.

The Flying Lovers of Vitebsk is being performed at Northlight Theatre in Skokie through October 6th. For tickets and/or more show information, click HERE. 

When life’s chaos is full of impossible choices, how are we possibly meant to move forward?

Brooklyn Laundry is about a lot of things. There’s love. There’s heartbreak. There’s family, and there’s grief. However, at its center, you might find that the play boils down to the central question above. Playwright John Patrick Shanley may not offer the answer, but he certainly invites a conversation.

Brooklyn Laundry follows Fran (Cassidy Slaughter-Mason) - a young woman who meets business owner Owen (Mark Montgomery) upon dropping off her laundry at his dry cleaners. By chance they meet, and Owen ask her out for dinner. Fran is touched, and ultimately says yes. However, life is rarely as it seems, and Fran is navigating far more than a recent breakup. With one sister, Trish (Marika Mashburn), suffering from cancer and her other sister, Susie (Sandra Delgado), battling her own health challenges, Fran finds herself drowning in the middle – unsure of how to proceed.

Directed by Northlight Artistic Director BJ Jones, the production features a stellar ensemble as a whole. Mashburn and Delgado may only have one scene each, but the emotional depth they bring into these moments is enough to make them stand out. Delgado in particular gives a heartbreaking performance as Susie and certainly does not hold back. The character’s high-strung tendencies are likely to feel relatable to the older siblings in the audience, as well as the devastating blow when we see her pushed too far, and the true feelings beneath simply have to bubble over.  

Slaughter-Mason and Montgomery fill the blooming relationship at the center of the story with charm and if you’re anything like this writer, you may find yourself leaning in – hoping they succeed.

Fran and Owen’s first date is full of that awkward energy that so many audience members will recognize. From the moment that Fran walks into the restaurant, it’s clear that nothing will quite go as expected. At the surprising realization that she is completely high, Owen offers to take some of the drugs alongside her to even the playing field. As the effects settle in, the two embark on a conversation around intimacy that completely changes the tone around the evening.

The stage is empty except for the couple, allowing us as an audience to fully absorb the moment. Slaughter-Mason and Montgomery fill this scene with empathy and relatability. Laughter and gasps from the Opening Night audience filled the theater at the beginning of the date; however, as the scene moved along, pure silence took over. The shift in mood made it clear that this writer was not alone in her feeling that Slaughter-Mason and Montgomery certainly knew how to win over the crowd.

Shanley’s script is fast-paced and strong. Fran’s journey as a whole is far from easy, and Shanley smartly includes a mix of fun, light-hearted romantic scenes to break up the larger, heavier trajectory of the character’s arc. If anything, you might find that the script is too short. This 80-minute play is packed from beginning to end, and I personally found myself surprised when the lights came down at the end.

Stand-out performances and a gut-wrenching (yet at times comedic) story make Brooklyn Laundry an emotional roller coaster from start to finish. Modern-day romances rarely follow the path of a romantic comedy, and Shanley offers a window into the nuances that can hopefully lead to something stronger on the other side.

RECOMMENDED

Brooklyn Laundry runs through May 12, 2024 at Northlight Theatre - 9501 Skokie Boulevard.

Who will the best speller be? Who will be able to withstand the pressures of competition? Who wants it the most? I’m sure these are among the questions you must be asking yourselves once the play begins. Well, without giving the ending of the story away, I’ll just say that it’s the audience that has the most F-U-N, FUN. 

I thoroughly enjoyed watching this bright, funny and talented cast in Music Theater Works’ brand new production of the Tony Award-Winning musical, The 25th Annual Putnam County Spelling Bee, now being performed in the North Theatre at North Shore Center for the Performing Arts in Skokie. The hit musical, conceived by the mind of Rebecca Feldman is superbly executed thanks to its fine direction and choreography by Christopher Pazdernik, Keeley Vasquez who assists in both said areas, and with music direction by Michal McBride. 

The Putnam County Spelling Bee is exactly what you would imagine happens every year when a collection of the nerdiest, most sensitive and intelligent students from the local county schools come together to face their fears on the big stage to take home the first place trophy for best speller. And, to add a little more fun to this particular spelling bee, it also requires a good amount of improvisational participation from audience members who might just be called down to compete with the students. Even if you’ve seen this play before, there will always be new “cast members“ chosen from the crowd that create unpredictable comedy performed on the spot each night making every experience unique.

The musical, while on one hand provides so many humorous moments, also brings to light the very real pressures of student competition. We see the occasional tears and panic attacks while students compete against each other for a small prize (literally a 12” high trophy and $200 that goes toward future education). We see that winning or not can have big consequences at home and/or in their own psyche. But we also see how competition can bring people together and how it can help us learn about ourselves.

Neala Barron who plays the zealous, rule-following spelling bee supervisor (and one-time winner), Rona Lisa Perretti, pairs up with Zach Kunde who takes on the role of Vice Principal Douglas Panch to conduct the competition. Kunde and Barron have great chemistry together and draw lots of laughs from the audience as they provide the words for the students to spell, along with their definitions, use in a sentence and countries of origin. Michael Davis Arnold plays Mitch Mahoney, the assigned “comfort counselor” who is ready with both a hug and a juice box for the next eliminated student. Arnold and Barron both have tremendous singing voices that stun the audience with their solos in this mostly ensemble piece.  

Will Koski, who plays William Barfee’ has stand-out comic and physical timing comedy as his character finds it necessary to spell out each word with his “magic foot” on the floor. Jamie Dillon Grossman is terrific in her role as the adorable, super intelligent, activist, future Congress-bound Logainne Schwartzandgrubeniere, who is under a tremendous amount of pressure to win because her dads “hate losers”. 

Mai Hartwich is a perfect fit as Marcy Park, the student who is capable of speaking “six languages” but is under a great deal of inner pressure to be perfect in everything she does, which includes winning every spelling bee she enters. Hartwich has a great aha moment during the song “Marcy’s Epiphany,” where Marcy realizes that by deliberately spelling a word wrong and losing the spelling bee on purpose, she’s, in many ways, actually taking back her own power so she relax, have fun and return to pursuing what she really wants to wants to do with her life. 

This is a production where truly the entire cast delivers. Joe Lewis is well cast as cape-wearing Leaf Coneybear while Brandon Acosta tackles his role as Chip Tolentino and shines in his performance of “Chip’s Lament,” a whimsical number about how he was distracted by his “unfortunate erection”. Rachel Guth is a pleasure to watch as she plays the sweet and anxious Olive Ostrosky, an only child whose father does not show up for the spelling bee. With her parents on the go so often, Olive has spent most of her lonely childhood at home alone reading the ancient family dictionary because there was no one around to talk to. During the competition she repeatedly looks to row eight to see if her father has arrived to take the seat she reserves for him. Guth has a strong singing voice and especially displays her vocal talent, along with Barron and Arnold, when they team up for the number “The I Love You Song.”      

Director, Christopher Pazdernik does a great job with the pacing and movement of this bright and breezy production. Pazdernik mentions in the program the life lessons that this play should remind us of - to work hard and be proud of ourselves, but that winning isn’t everything! Also, be kind to others and don’t take life so seriously! The 25th Annual Putnam County Spelling Bee points out that as children and adults we put way too much pressure on ourselves to be perfect - to WIN first place and to impress ourselves and others in our family, and by doing so miss out on the joy of the moments completely.

I wasn’t a spelling bee kid, but I was a thespian competitor in high school and, as one spelling bee student after another had to be eliminated, I couldn’t help but relive my own memories of intense anxiety arising before, after, and during our national thespian competitions - which had no cash prize at all. That being the case, I really related to Michael Davis Arnold’s “Prayer of the Comfort Counselor,” which he knocks out of the park vocally.

I highly recommend this Music Theater Works production of The 25th Annual Putnam County Spelling Bee staged in the lovely and intimate North Stage in the North Shore Center for the Performing Arts for audiences of all ages. 

Sometimes you just need to go green. No, not a vegan diet and compostable paper plates, though a little more of each would help the planet. Go green with Shrek: The Musical, which runs through the end of 2023 at North Shore Center for the Performing Arts. Music Theater Works’ production, directed by Joanna McKenzie Miller, has many offbeat delights, including green-hued fart clouds blooming onto the upstage screen. Would those count as vegan and compostable? It doesn’t matter.

Based on the Dreamworks animated film Shrek, the musical pairs Jeanine Tesori, composer of such serious fare as Violet and Fun Home, with David Lindsay-Abaire, author of equally rigorous works such as Rabbit Hole and Kimberly Akimbo (which he and Tesori recently turned into a musical). With Shrek: The Musical, the creative team stays within unremarkable territory.

Taken on those safe terms, though, the show does not disappoint. The salty fairytale follows its ogre hero Shrek – who is cast off by his parents as a child and dwells alone in a swamp – and heroine Fiona – the princess who is cast off by her parents and grows up alone in a tower – to their happily ever after. Thanks to Lord Farquaad, the nasty royal who needs a queen to make him a king, Shrek and Fiona meet and conflict and fall in love with competing farts and belches.

Dana Pike as Fiona fills the stage with her rich voice, determined personality and droll humor, all of which align with particular power in “Morning Person.” While she clings to her quest to marry her fantasy man on a steed, she’s also a pragmatist who adapts to circumstances that contradict her fictional assumptions.

Jordan DeBose lets us love him as smelly Shrek (though a few of his lines got muffled in the Scottish accent). Eustace J. Williams as Shrek’s sidekick Donkey makes his incessant jabber always entertaining. Full-sized Michael Metcalf plays pint-sized Farquaad with such finesse, it’s easy to forget the actor does it entirely on his knees. And Michaela Shapira as Pinocchio seems to have hinges in her elbows.

A word about the set, a sure sign that stage technology marches on even as love stories remain timeless. The vast upstage screen uses motion graphics to chart shifting scenes and moods, from placid sunflowers to molten lava. Media designer Anthony Churchill’s projections mostly follow traditional storybook illustrations, but they are likely, in their sheer un-trendiness, to keep audience members of all ages transfixed.

It's been a hell of a year. Time for a few “F’s” that can be printed, like family, friendly, fantasy, free parking and, okay, farts. As a distraction from dire world news for adults and a variation on Christmas culture for the kids, Shrek: The Musical does the job with lots of jolly and its own shade of green.

Music Theater Works’ production is playing through December 31^st at North Shore Center for the Performing Arts. Go to Music Theater Works for tickets and information.

On a rather ordinary winter day, I settled in to binge-watch Big Little Lies on HBO. In the show, the community of upper-class suburbia signs a petition to ban a musical from performing in the local theater. The play was against the community values, they argued, handling issues of racism, porn, and most dreadfully sex. The bit of the whole thing was that the play had puppets and those puppets simulated sex (gasp!). Watching the outrage of the characters in the show and the eye-rolling of the show’s protagonist of her narrow minded community members, I promised myself if the show ever came to Chicago I would be front row center. Luckily this fool’s spring, that show has officially come to Chicagoland; that show was Avenue Q.

Avenue Q can best be summed up as a satirical parody of PBS’s Sesame Street. The musical comedy features puppets and human actors with upbeat, clever, and catchy music and lyrics exploring adult themes. It won Best Musical, Book, and Score at the 2004 Tony Awards.

We arrive on Avenue Q with Princeton, a bright-eyed recent puppet college grad questioning the very thing I did after graduation with the song “What Do You Do with a B.A. in English?”. Princeton, like most of us, wonders what happens now in his life, how can he afford rent? What will he do for a living? What is his purpose? Princeton and his neighbors, both puppets and humans, are all young adults facing problems after school ends and the real world begins. They navigate and explore these issues often through song, problems dealing with money troubles, job issues, sex ("You Can Be as Loud as the Hell You Want (When You're Makin' Love)", homosexuality ("If You Were Gay"), unrequited love, racism ("Everyone's a Little Bit Racist"), and wondering when and how you can chase your dreams. There are incredibly relatable numbers that explore why we’re here and what the hell we’re supposed to be doing (“Purpose”), and longing for a more simplistic life (“I Wish I Could Go Back to College”). The musical also boasted profanity, fucking puppets, and I feared I would be asked to leave the theater when I couldn’t stop laughing when the puppet Kate-Monster and her puppet neighbor Trekkie Monster sing about the beauty and awe that is the internet “The Internet Is for Porn.” The Northlight production added some hilarious digital elements to the play during stage prep and scene changes, such as funny NYC facts and signs (free wi-fi ON don’t use for porn/free wi-fi OFF they used it for porn) and play-on-word counting videos like Sesame Street (5-4-3-2-1, 1 Night Stand) to prep for a sex scene in the musical.

Avenue Q is a simultaneously well-known and obscure musical. Many audience members had seen the show while I had only heard of it in recent pop culture. It came out the same year I graduated high school and has aged incredibly well. What once might have seemed outrageous to audiences and critics at the time are rather tame by today’s standards. Some older and more current reviews point not to the content but to the mocking or disparaging parody of the groundbreaking show Sesame Street. To me, Avenue Q is merely the grown-up version of Sesame Street or the big brother who returned home jaded from college and moved in next door because they can’t afford rent. It’s the show that Sesame Street could have become if acquired by HBO from PBS. Said another way, Avenue Q is the Cards Against Humanity to Sesame Street’s Apples to Apples. The show’s humor grounds itself in the realness of stepping out as an adult in the world and it is why it is still relevant and relatable today. I can see it quickly becoming a cult classic amongst younger generations who embrace parody, satire, and humor in an otherwise brutal world.

Avenue Q plays at the Northlight Theater (9501 Skokie Blvd) in Skokie. Northlight Theater continues to deliver incredible productions, and its 2023 lineup is filled with incredible shows. The theater is easily accessible for Chicagoans and suburbanites with a sense of humor. Tickets are available at Northlightcenter.org.

Mozart’s Requiem

Music of the Baroque Chorus and Orchestra

Jane Glover, conductor

William Jon Gray, chorus director

Saturday, September 15, 2018, 7:30 PM at the Harris Theater for Music and Dance, Chicago, and Sunday, September 16, 3:00 PM at the North Shore Center for the Performing Arts, Skokie

                                                                                                                                                                                                                                                                 Photo by Elliot Mandel

A Regal Beginning and a Divine Ending

By the OperaSwains

A capacity audience warmly welcomed the Music of the Baroque Chorus and Orchestra and A-List cast of soloists on the opening night of its 2018-19 season at the Harris Theater, led by Maestra Jane Glover, in an impeccably well-crafted performance of one of classical music’s crown jewels, Mozart’s glorious Requiem Mass in D minor, K 626.

The program began with three anthems by George Frederic Handel written in 1727, more than a dozen years before composing his great “Messiah”, as Handel was becoming established as the preeminent British composer of his time, for the Coronation of the Hanoverian King George II and Queen Caroline.

In a brief, inspiring podium speech, Ms. Glover sparked a human touch to the evening by inviting us to imagine ourselves in Westminster Abbey for that regal occasion among the soaring arches and stately long nave which has been the scene of countless Crown events, setting the scene for us to be part of something important.  As the music began quietly and swelled, she had us.

The pageantry of “Zadok the King” was followed by the more intimate “My Heat is Inditing” (from Middle English - not a typo), with “The King Shall Rejoice” concluding the set.

The talented ensemble played cleanly and with spirit; their understanding and love of the baroque style apparent throughout.  The chorus, ably prepared by William Jon Gray, sang with musical clarity, if not clarity of diction.  The stellar tenor section was especially impressive in astonishingly accurate coloratura passages – Bravi, gentlemen!  The sopranos were silvery, at times ethereal, while the altos provided soothing warmth.  However, we wished for substantially more weight from the basses, often swamped by the low strings.  Less emphasis on the modern obsession with “blending” and greater emphasis on pure vowels would not only improve diction, but also give the chorus a fuller, more complete adult sound.

Following intermission, the chorus and a full Mozart orchestra returned for the Requiem with soprano Amanda Majeski, mezzo soprano Daniela Mack, tenor Joan Hacker and Bass-Baritone Eric Owens.  A few more choristers would have been welcome, because at times they were overwhelmed by the orchestra.

If the term OMG! wasn’t already a part of our current lexicon, it would be necessary to invent it for Mr. Owens’ performance. OMG!! He possesses the gravitas and commitment of a truly great singer. Listening to Mr. Owens is like hearing the voice of humanity, or perhaps, tasting a 50 year old Scotch. The wondrous, trumpet-like sound of his “Tuba mirum spargens sonum” spreading through the hall was one of those rare heart-stopping moments in a live performance that will not be forgotten. To ice the cake, Mr. Owens is capable of a delicately tender pianissimo usually unavailable to other voices of his dramatic weight. We can’t wait for “Siegfried” at the Lyric!

Tenor Jonas Hacker’s burnished, clarion tenor brought much more to the role than what is generally expected from a “Mozart tenor”.  It may be that standing next to Mr. Owens, he was inspired to greater heights, as his engaged and direct singing just became better and better throughout his performance. We hope to hear much more from him in the future.

No such luck on the other side of the stage; Ms. Mack’s rich, clear voice met the demands of the alto role, but the part doesn’t give an opportunity for the singer to make much of a mark.  However, she did look fabulous in her red and gold brocade strapless gown, and one could easily imagine her as a spunky Rosina or a smokin’ hot Carmen.

Beautiful voices, as the great vocal coach Peyton Hibbitt used to say, are a dime a dozen, but an artist is someone who engages the audience and communicates something.  Anything.  At the very least, the intent of the composer and the librettist.  Ms. Majeski brought nothing but her beautiful instrument to the soprano soli. 

Ms. Glover has a great command of the dynamic possibilities of an orchestra, exquisitely rendered by the gifted musicians.  The performance was enthusiastically received, albeit with the perfunctory, up-trickling, standing ovation (Ladies and gentlemen, if you can’t help yourself from instantly jumping to your feet when the piece ends, don’t bother standing until you are ready to leave…).  Nevertheless, we all were grateful for an excellent performance by this gem of the Chicago musical scene.  Get your tickets now for the remaining performances of the season, which includes Bach’s Christmas Oratorio and Coffee Cantata, among many other treasures.

For tickets call (312) 551-1414

www.Baroque.org