Displaying items by tag: Dave Malloy

There’s a rare kind of theatrical experience that transcends personal taste. Even if a genre is not typically your first choice, the sheer level of artistry on display is impossible to deny. That is exactly what director Keira Fromm’s production of Octet accomplishes: a vocally astonishing, emotionally resonant, and meticulously staged production that leaves you in complete awe of the performers.

Centered around a support group for people struggling with various forms of internet and technology addiction, Dave Malloy’s 2019 chamber choir musical somehow feels even more relevant now. Octet explores the strange, funny, isolating, and deeply human ways people use the internet to cope, connect, and self-destruct. Each member of the eight-person ensemble embodies a different facet of online dependency, from social media obsession to gaming to pornography to niche internet rabbit holes.

While the characters are intentionally heightened at times, what makes the show so effective – and a little scary – is how recognizable they still feel. The humor comes easily, but it is the moments of uncomfortable self-recognition you experience with each and every character that linger long after the show ends.

The production is, above all else, a staggering vocal achievement – made even more impressive by this marking Raven Theatre’s first musical production. Performed almost entirely through a cappella and chamber-style music, Octet demands an unbelievable level of precision, memorization, and endurance from its cast. The eight performers remain onstage for the full show, seamlessly moving between emotionally vulnerable monologues, intricate harmonies, comedic ensemble numbers, and soaring solo ballads without ever losing momentum. The result is one of the most impressive live vocal performances I have seen in quite some time.

What makes the cast especially remarkable is not just the technical perfection of the singing – though there genuinely was not a single noticeable missed cue, stumble, or musical lapse throughout the performance – but the way every performer remains completely locked into their character while executing extraordinarily difficult material. The ensemble operates like a perfectly synchronized machine, yet never sacrifices emotional authenticity for precision.

Two particular standouts were Teressa LaGamba (Paula), whose warmth and compassion radiated through every interaction and whose vocals carried extraordinary emotional clarity, and Sam Shankman (Henry), whose flamboyant humor and painfully relatable awkwardness made him both hilarious and unexpectedly touching. Shankman’s chemistry with the rest of the ensemble elevated nearly every scene he was part of, reinforcing the deeply interconnected energy that makes the show work so well.

Technically, Octet is relatively minimalist, but Raven Theatre’s production proves how impactful thoughtful simplicity can be. Utilizing the backstage area of the company’s black box theatre to create the atmosphere of a sparse church basement, scenic designers Milo Bue and Wynn Lee embrace an intentionally unpolished environment that perfectly suits the material. Every design choice feels purposeful.

The true technical standout, however, is Maximo Grano De Oro’s lighting design (with Ruby Lowe and Emmitt Socey as Master Electricians). Great lighting often goes unnoticed because of how seamlessly it integrates into a production, but the work here is impossible not to appreciate once you begin paying attention. Countless meticulously timed lighting cues transform otherwise ordinary fluorescent fixtures into an incredibly dynamic storytelling device, adding depth, tension, warmth, and unease in ways that subtly shape every moment of the show. The precision of the programming and cue choreography demonstrates an extraordinary level of care and intentionality, elevating the entire production without ever distracting from it.

With a newly announced film adaptation directed by Lin-Manuel Miranda and featuring an all-star cast already generating major excitement, Raven Theatre could not have picked a better time to stage Octet. Their production captures everything that makes the musical so singular: its humor, its humanity, its discomfort, and its breathtaking musicality. It is a deeply modern show presented with extraordinary care, and it sets an incredibly high bar for any future stagings.

Octet is running at Raven Theatre through June 7th. Tickets are available at https://www.raventheatre.com/stage/octet/.

Chicago's Raven Theatre Company today announced the cast and production team for Dave Malloy's OCTET, directed by Keira Fromm and running April 30 - June 7, 2026 (previews April 30 - May 3). Tickets ($30 - $45) on sale at www.raventheatre.com. 

In an anonymous meeting room, a group of people —always eight—gather to sing. Best known for the Broadway hit NATASHA, PIERRE, & THE GREAT COMET OF 1812, Dave Malloy's  OCTET uses chamber-inspired a cappella music to explore the total impact of life online. Hailed by the New York Times as "the most original and topical musical of the year" for its 2019 Off-Broadway premiere, this inventive and acutely relevant piece reflects the perils of the digital age.

"OCTET is the perfect first musical for Raven," says Executive Artistic Director Sarah Slight. "It tackles the urgent topic of technology addiction in a way that feels right at home on our stage. With an entirely a capella score, OCTET offers something our audience has never experienced here before. It is an extraordinary show to bring to Chicago."

The cast features Joryhebel Ginorio (Velma), Neala Barron (Jessica), Grace Steckler (Karly), Teressa LaGamba (Paula), Elliot Esquivel (Toby), Jordan Golding (Marvin), Sam Shankman (Henry), and Jonah D. Winston (Ed). Understudies are Dani Pike (u/s Jessica), Collin Quinn Rice (u/s Henry), Diana Marilyn Alvarez (u/s Paula), Caitlyn Cerza (u/s Karly), Danny Bennett (u/s Ed), Jonah Cochin (u/s Toby), Joe Giovannetti (u/s Marvin), and Mizha Lee Overn (u/s Velma).

The production team, led by director Keira Fromm, includes JC Widman (Stage Manager),  Nick Sula (Music Director), Laura Savage (Choreographer), Milo Bue (Scenic Designer), Paloma Locsin (Props Coordinator), Maegan Pate (Costume Designer), Maximo Grano de Oro (Lighting Designer), Christopher Kriz (Sound Designer), Ruby Lowe (Master Electrician), Lucy Whipp (Production Manager), Mads Wren (Assistant Director), Faith Locke (Assistant Stage Manager), Hannah Kwak (Assistant Sound Designer), Emmitt Socey (Assistant Master Electrician), Wynn Lee (Associate Scenic Designer), and Catherine Miller (Dramaturg, Casting Director).

Raven Theatre's OCTET runs April 30 - June 7, 2026, with previews April 30 - May 3. Performances are held Thursdays, Fridays, and Saturdays at 7:30 p.m., and Sundays at 3 p.m. on the Johnson Stage at Raven Theatre, 6157 N. Clark St. Tickets are $45, with discounts available for students, military, and industry ($30 previews); to purchase tickets and for more information about Raven Theatre's 43rd season, visit www.raventheatre.com. 

OCTET

Written By: Dave Malloy

Directed By: Keira Fromm

Cast: Joryhebel Ginorio (Velma), Neala Barron (Jessica), Grace Steckler (Karly), Teressa LaGamba (Paula), Elliot Esquivel (Toby), Jordan Golding (Marvin), Sam Shankman (Henry), and Jonah D. Winston (Ed). Understudies are Dani Pike (u/s Jessica), Collin Quinn Rice (u/s Henry), Diana Marilyn Alvarez (u/s Paula), Caitlyn Cerza (u/s Karly), Danny Bennett (u/s Ed), Jonah Cochin (u/s Toby), Joe Giovannetti (u/s Marvin), and Mizha Lee Overn (u/s Velma).

Production Team: JC Widman (Stage Manager),  Nick Sula (Music Director), Laura Savage (Choreographer), Milo Bue (Scenic Designer), Paloma Locsin (Props Coordinator), Maegan Pate (Costume Designer), Maximo Grano de Oro (Lighting Designer), Christopher Kriz (Sound Designer), Ruby Lowe (Master Electrician), Lucy Whipp (Production Manager), Mads Wren (Assistant Director), Faith Locke (Assistant Stage Manager), Hannah Kwak (Assistant Sound Designer), Emmitt Socey (Assistant Master Electrician), Wynn Lee (Associate Scenic Designer), and Catherine Miller (Dramaturg, Casting Director).

Dates: April 30 - June 7, 2026 (Previews TBD)

Schedule: Thursdays, Fridays, and Saturdays at 7:30 p.m.; Sundays at 3 p.m.

Location: Raven Theatre (6157 N. Clark St.)

Tickets: General Admission: $45; Student, Military, and Industry tickets $20. Previews $30.

Box Office: www.raventheatre.com 

“Gonna have to study up a little bit if you wanna keep up with the plot ‘cause it’s a complicated Russian novel,” so says the prologue in Writers Theatre’s Chicago premiere of ‘Natasha, Pierre & the Great Comet of 1812’. Don’t let the complicated Russian novel part scare you off because Dave Malloy’s unique take on Leo Tolstoy’s classic ‘War & Peace’ is anything but a living book report. It’s a serious breath of fresh air for musical theatre as a genre.

Nominated for an impressive amount of Tony Awards in 2017, including Best Musical and Best Musical Score, ‘The Great Comet’ was a smash hit to say the least. It’s not often you see a line queued up for a musical adaptation of a very long book, the other most notable being ‘Les Miserables’ in the 1980s. And just like ‘Les Miz’, the playwright has done a lot of trimming to ensure a normal two and a half hour running time. Instead of utmost faithfulness to the source material (as is the case with ‘Les Miz’), Malloy turns the period piece musical on its head. 

‘The Great Comet’ is a chamber opera, in that every line of dialogue is sung-through and the songs further the plot, hence the prologue. What’s really interesting about this particular adaptation is that for one, you do not need to have any familiarity with Tolstoy’s behemoth novel in order to be dropped into the middle of the book. ‘The Great Comet’ is but a small section of the book, but it is arguably one of the most interesting parts of the novel. Dripping with juicy soap opera subplots as well as the richly drawn interior lives of the characters, something Tolstoy was quite adept at. This show also wouldn’t spoil the overall plot of the novel as it leaves some plot points open-ended that are later solved in the novel.

Natasha (Aurora Penepacker) is engaged to Andrey (Matthew C. Yee) who is at the front fighting in the Napoleonic war. For safety’s sake she’s living with her soon-to-be in-laws in Moscow and for the first time in her life seeing the big world and all its temptations. When she meets dashing, but wicked Anatole (Joseph Anthony Byrd), she begins a risky affair that could threaten her future.

Writer’s Theatre’s production is one of the first major revivals since the original Broadway production and under Katie Spelman’s direction, it’s an absolute delight from beginning to end. When the curtain comes down on the first act, you’ll be immediately craving more. More of the music, more of the incredible voices and more of the heartrending music that cuts to the core of what it means to love.

This production culls together some of Chicago’s most formidable singers and actors including Bethany Thomas in the role of Marya (Natasha’s guardian) who gives one of the most electrifying performances of the evening. Not to be outdone, playing Nathasha’s best friend Sonya, Maya Rowe has likely the evening’s best solo with the song ‘Sonya Alone’. Aurora Penepacker does Tolstoy’s vision of the innocent Natasha more than justice, her song ‘No One Else’ provides the first pang of emotion. Though, don’t count Bri Sudia out as Pierre’s philandering wife Helen. She’s delivering pure musical theater magic all night. 

Spelman’s aesthetic for this production moves this musical from the black box to the opera house. Grand in scale, but still intimate. There’s a certain Baz Luhrmann quality to the costumes and the staging, and along with the modern pop soundtrack creates a very satisfying product. It just feels cool.

What will make this niche show continue to prosper in revivals is the music itself. Sophia Copola might be the godmother of putting modern music into period pieces, but Dave Malloy is doing more than just borrowing familiar tunes from his youth. The soundtrack feels like the first truly relistenable soundtrack in decades. Not a bit of the saccharine jukebox music with throw-away lyrics here. And though there is a musical through-line, what this show really benefits from is the unexpected diversity of unique sounding songs. Each song becomes its own world in a way that most modern musicals fail at. It feels like a harken back to the Sondheim era of musical theatre.

‘The Great Comet’ is the perfect musical for people who say they hate musical theatre. At the risk of saying “steampunk”, it’s a refreshing take on both musicals and adaptation. The creativity of both the cast and direction at Writers Theatre makes for an enchanting night at the opera.

Through October 27 at Writers Theatre. 325 Tudor Court, Glencoe, IL. 847-242-6000  

*Extended through November 3rd

As the Chicago premiere of Dave Malloy’s Ghost Quartet was set to start, a cast member walked across the stage, stopping to thank us for attending before adding, “See you on the other side,” in the spookiest voice and with the spookiest face, setting the stage for more than an hour of spooky musical and musicality to come.

I was not too familiar with the content of Malloy’s “song cycle” before the show, only aware that he’d also penned the renowned Tony winner, Natasha, Pierre & The Great Comet of 1812. I’d also given a preliminary listen to some of Ghost Quartet’s soundtrack during morning train rides, finding a favorite here or there among the play’s songs, but leaving myself in the dark as to its story.

Having seen the show now, I’m still not sure the story is any clearer, but I’m pretty sure that’s purposeful (and why it’s referred to as a “song cycle”). And I’m pretty sure that titling it a “Quartet” is a perfect label. Because over the course of an hour-and-a-half (with no intermission), the story (or stories, as Poe and Scheherazade and Thelonious Monk and a telescope and a bear and a subway and, I think, Little Red Riding Hood, are all mashed up together) became secondary to everything else the audience was offered. And because over the course of said production (directed by Ed Rutherford), the four-piece cast acts much as a classical or vocal quartet does — playing with and off one another to deliver a delightful and disparate musical program.

The feel of a musical program (as opposed to a musical musical) is highlighted with the introduction of each of the 20 tunes — each “track” presented as part of an album or a mixtape. Some of the songs are part of a greater whole (perhaps this could be described as a “concept album”?), but many stand alone on their own musical merits. The ethereal “Starchild” is equal parts Bowie and ballade. “Any Kind of Dead Person” rollicks and frolics into Klezmer territory. “Fathers and Sons” is a duet, both vocally and via cooperative percussion. And “Four Friends” is one of the better drinking songs I’ve heard in quite some time (seriously, I wish I’d known that chorus back in my whiskey-drinking days!).

But each of those songs, and the other 16 that make up the show, are only as powerful or playful or seductive or stunning as the four extraordinary talents who give them life. And what extraordinary talents each of the four cast members possesses.

Possessed of extraordinary talent both vocally and physically, Amanda Raquel Martinez (the one whose spooky salutation greeted us) brings the chills throughout. At times displaying an operatic soprano, at others displaying the ability to contort her face into a possession that’d make Linda Blair’s head spin, Martinez had my focus through the show, and my musician’s admiration, as well, as she played ukulele, guitar, accordion, and percussion throughout.

Martinez’s counterpart Rachel Guth earned my equal admiration, come to think of it. Going from vixenish to virtuous, from gangly and girlish to sultry and seductive, Guth displayed an acting range only bolstered by her timeless look and her ability to sing anything from heartbreaking ballad to boozy barroom belter.

But if it seemed I couldn’t peel my gaze from Martinez or Guth, I think the cast member I watched with the most awe was Alex Ellsworth. Ellsworth played the cello for the entire show, grounding the quartet in its stringed roots. And while he played various roles (and some percussion), it was Ellsworth’s ability to make the cello just about anything but a cello that kept drawing my eyes and ears to his corner of the stage (decorated eerily and beautifully by Jeremy Hollis, I should add). At times it was a violin, at others a fiddle. When needed it provided ethereal sound effect. And at one point it was held on Ellsworth’s lap like a giant banjo and strummed with a pick. About the only thing Ellsworth’s cello didn’t do was harmonize with the other three actors — thankfully its owner’s got an enviable knack for vocal harmonies that turned a trio into a foursome.

And the fourth of the foursome, T.J. Anderson, I’d liken to that oft-forgotten stepchild of the string quartet, the viola, if you don’t mind me keeping on with that analogy. While his castmates might have gotten the juiciest parts to play (remember, this story’s made up of many stories, so each actor fills quite a few roles) and the choicest songs to sing, Anderson holds the whole thing together. He does so on the piano, which he plays for most of the show (accompanied here and there by man-behind-the-curtain musical director Nick Sula). He does so while pounding a tom-tom or while donning a black leather jacket. He does so by making each of the other three better and the sum of their parts greater.

So, if you’re looking to see four of our city’s talented actor/singer/musician types who I hope we all come to know better tackle a “song cycle” that you’ll leave knowing better, catch Black Button Eyes’ Ghost Quartet at Stage 773 from now until August 17.