Jodie Jacobs – Page 5 – Chicago Theater and Arts

Jeff Equity nominations and awards date

The Joseph Jefferson (Jeff) Awards honor outstanding theatre shows and their artists annually since 1968. This week, they have announced their nominees for the 56th Equity Awards. The Award ceremony will be Sept. 30, 2024, at Drury Lane Theatre in Oakbrook Terrace, IL.

The nominees total 193 in 34 categories in shows that ran July 1, 2023 to June 30, 1924. As an example of the nominees note that Goodman Theatre received 20 nominations from nine productions of which two were co-produced with other companies. Next most was Mercury Theater Chicago with 18 nominations and Marriott Theatre with 17 nominations.

Here are some of the categories and their nominees. For the full list visit Joseph Jefferson Awards.

2024 EQUITY JEFF AWARD NOMINEES

Production – Play (Large)
“Birthday Candles” – Northlight Theatre
“Joe Turner’s Come and Gone” – Goodman Theatre
“The Lehman Trilogy” – Broadway in Chicago and TimeLine Theatre Company
“Little Bear Ridge Road” – Steppenwolf Theatre Company
“The Nacirema Society Requests the Honor of Your Presence at the Celebration of Their First One Hundred Years” – Goodman Theatre
“Purpose” – Steppenwolf Theatre Company
“A Streetcar Named Desire” – Paramount Theatre
“Twelfth Night” – Chicago Shakespeare TheaterProduction – Play (Midsize)
“Blues for an Alabama Sky” – Remy Bumppo Theatre Company
“Gods and Monsters” – Frame of Reference Productions
“Silent Sky” – Citadel Theatre
“Turret” – A Red Orchid Theatre
“A View from the Bridge” – Shattered Globe Theatre

Production – Musical (Large)
“Anything Goes” – Porchlight Music Theatre
“Beautiful: The Carole King Musical” – Marriott Theatre
“Guys and Dolls” – Drury Lane Productions
“The Matchbox Magic Flute” – Goodman Theatre
“Meredith Willson’s The Music Man” – Marriott Theatre
“Next to Normal” – Paramount Theatre

Production – Musical (Midsize)
“Jersey Boys” – Mercury Theater Chicago
“Rock of Ages” – Mercury Theater Chicago
“She Loves Me” – Citadel Theatre
“Young Frankenstein” – Mercury Theater Chicago

Production – Revue
“Ain’t Misbehavin'” – Drury Lane Productions
“A Taste of Soul” – Black Ensemble Theater
“The Time Machine: A Tribute to the 80s” – Black Ensemble Theater

Ensemble – Play
“English” – Goodman Theatre and the Guthrie Theatre
“The Nacirema Society Requests the Honor of Your Presence at the Celebration of Their First One Hundred Years” – Goodman Theatre
“The Penelopiad” – Goodman Theatre
“POTUS: or, Behind Every Great Dumbass Are Seven Women Trying To Keep Him Alive”
– Steppenwolf Theatre Company
“Purpose” – Steppenwolf Theatre Company

Ensemble – Musical or Revue
“Ain’t Misbehavin'” – Drury Lane Productions
“Illinoise” – Chicago Shakespeare Theater in association with ArKtype/Thomas O. Kriegsmann
“Meredith Willson’s The Music Man” – Marriott Theatre
“A Taste of Soul” – Black Ensemble Theater
“The Time Machine: A Tribute to the 80s” – Black Ensemble TheaterNew Work
Levi Holloway – “Turret” – A Red Orchid Theatre
Samuel D. Hunter – “Little Bear Ridge Road” – Steppenwolf Theatre Company
Branden Jacobs-Jenkins – “Purpose” – Steppenwolf Theatre Company
Nambi E. Kelley – “Stokely: The Unfinished Revolution” – Court Theatre
Brett Neveu – “Revolution” – A Red Orchid Theatre
Sufjan Stevens, Justin Peck and Jackie Sibblies Drury – “Illinoise” – Chicago Shakespeare Theater in association with ArKtype/Thomas O. Kriegsmann
Mary Zimmerman – “The Matchbox Magic Flute” – Goodman Theatre

Director – Play (Large)
Susan V. Booth – “The Penelopiad” – Goodman Theatre
Nick Bowling and Vanessa Stalling – “The Lehman Trilogy” – Broadway in Chicago and TimeLine Theatre Company
Lili-Anne Brown – “The Nacirema Society Requests the Honor of Your Presence at the Celebration of Their First One Hundred Years” – Goodman Theatre
Joe Mantello – “Little Bear Ridge Road” – Steppenwolf Theatre Company
Tyrone Phillips – “Twelfth Night” – Chicago Shakespeare Theater
Phylicia Rashad – “Purpose” – Steppenwolf Theatre Company

Director – Play (Midsize)
Mikael Burke – “Blues for an Alabama Sky” – Remy Bumppo Theatre Company
Louis Contey – “A View from the Bridge” – Shattered Globe Theatre
Levi Holloway – “Turret” – A Red Orchid Theatre
Chuck Smith – “The Reclamation of Madison Hemings” – American Blues Theater
Paul Oakley Stovall – “Gods and Monsters” – Frame of Reference Productions
Beth Wolf – “Silent Sky” – Citadel TheatreDirector – Musical (Large)
Jim Corti – “Next to Normal” – Paramount Theatre
Jessica Fisch – “Beautiful: The Carole King Musical” – Marriott Theatre
Katie Spelman – “Meredith Willson’s The Music Man” – Marriott Theatre
Michael Weber – “Anything Goes” – Porchlight Music Theatre
Mary Zimmerman – “The Matchbox Magic Flute” – Goodman Theatre

Director – Musical (Midsize)
Matthew Silar – “She Loves Me” – Citadel Theatre
L. Walter Stearns – “Young Frankenstein” – Mercury Theater Chicago
L. Walter Stearns and Brenda Didier – “Jersey Boys” – Mercury Theater Chicago

Director – Revue
Daryl D. Brooks – “The Time Machine: A Tribute to the 80s” – Black Ensemble Theater
E. Faye Butler – “Ain’t Misbehavin'” – Drury Lane Productions
Deidre Goodwin – “Beehive: The 60’s Musical” – Marriott Theatre

Georgia on a New York Mind

Painting featuring a dense city view bisected by a bright blue river with a tugboat headed right. Factory smokestacks and industrial structures define the far bank. The near back features a mass of close-together structures in different styles and heights. A smoky haze permeates the view, softening the sharp diagonals and corners of the cityscape.

Georgia O’Keeffe. East River from the 30th Story of the Shelton Hotel, 1928. New Britain Museum of American Art, New Britain, Connecticut, Stephen B. Lawrence Fund. © Georgia O’Keeffe Museum on loan to Art Institute of Chicago

Highly Recommended

If you think you know something about Georgia O’Keeffe, be prepared to be pleasantly surprised.

Yes, there are one or two bleached skulls and a few super closeups of the interiors of flowers but overall this exhibit entitled “My New Yorks” focuses mainly on the work she did during the 1920s while married to famed American photographer and gallery owner Alfred Stieglitz.

The couple lived in the Shelton Hotel which at the time was one of the city’s tallest buildings offering the highest living space in NYC. From this vantage point the two visual artists could witness the growth of the sprawling metropolis.

They each derived inspiration from the crush of towering buildings and the interesting shapes provided while looking up during walks at street level as well as from their particular bird’s eye view.

O’Keeffe continued her work with abstracts by making impressions of the city in which she hoped to capture not what it looked like but rather how it felt. Massive structures dominated her canvases and spilled off the edges as though they were unable to be contained.

Her styles at this time seems to have generally drifted away from her previous more colorful works and amorphous forms. Instead, they varied from monochromatic abstracts to more realistic sepia-toned cityscapes reminiscent of Stieglitz’ photos

They also went to more colorful waterfront images and compositions that included shocks of color between or behind a darker field of monolithic buildings as though the natural world was trying to breakthrough this concrete barrier.

It’s notable to mention that her work is virtually devoid of human subjects or foliage. One exception depicts a small sprig from what might be the stem of a flower comprised of a few green leaves on a windowsill with the sharp-edged shapes of the city below. This is one of the few organic and curved subjects in what is otherwise a collection of geometric designs drawn with nearly draftsman like precision.

It is during this time that O’Keeffe made the first of what would be many visits to the Southwest. She brought back at least one cow skull which adorned her apartment terrace and also many bleached bones. It is here in New York that she began to work with the subject matter that would be most identified with her.

Another odd exception that includes organic forms is the random placement of colorful flowers in a 1932 work entitled “Manhattan.”

The large composition of skyscrapers is, itself, more colorful. It has been suggested that the flowers are a nod toward her growing love and an interest in the American Southwest that will ultimately come to dominate the later part of her career.

It’s fitting that this collection be exhibited here in Chicago. Born in Sun Prairie, Wisconsin, she studied at the School of the Art Institute from 1905 to 1906. In later years, she made several donations of her work and the works of Stieglitz to the museum.

A complimentary audio tour is available on the free AIC app which can be listened to via your smartphone.

Details: Georgia O’Keeffe: “My New Yorks” is at the Art Institute of Chicago at Michigan Avenue and Monroe through September 22, 2024. General admission plus an extra fee for the exhibit is required. For details visit Georgia O’Keeffe: “My New Yorks” | The Art Institute of Chicago (artic.edu)

Reno Lovison

(For more about Georgia O’Keefe visit Fun Facts.)

Uncovering the Declaration of Independence

The scene is Independence Hall in Philadelphia. The players are the Founding Fathers of the United States of America who debated then actually unanimously adopted the Declaration of Independence in 1776. If that signing sounds easy or like a foregone conclusion, think again.

The musical “1776,” with music and lyrics by Sherman Edwards and book by Peter Stone, is a time-travel journey back to colonial Philadelphia when statesman/attorney John Adams led the movement to have and sign a Declaration of Independence.

Premiering on Broadway in 1969 and winning three Tony Awards, “1776” is reprised at Marriott Theatre in Lincolnshire, August 21 (pre-shows) opening August 28 and running through October 13, 2024.

To get a glimpse at what to expect we did a short phone interview with its Marriott director, Nick Bowling, founding Artistic Director of TimeLine Theatre Company and a frequent Marriott Theater director.

In Marriott’s press release, you mentioned “the feeling in the room” which reminded of Lin Manuel’s song in Hamilton about where the action took place. Can you expand on that?

“Yes, the room where it happened. I was recently there – at Independence Hall. It’s a small room. It’s supposed to be done like it was back then. But in the show, it’s done more in the spirit of the way it was,” said Bowling.

“Weve added voices to that room and the casting is more diverse than what there was. It reflects modern thinking. But you see the chamber. And you hear the issues – States Rights, Federal Rights, Civil Rights,” he said.

2.What in the show do you think will surprise people?

“The issues discussed were the beginning of the issues that would reverberate through the history of our country,” said Bowling.

3. I think I remember (from a previous show) that Southern slave holding delegates were reacting differently to the democratic ideas put forth by other delegates and that mattered as to getting them to sign the Declaration.

“Northern delegates were also slave owners. The delegates all agreed to not consider slavery as an issue in the Declaration of Independence.” he said.

“What you learn is about the characters who played a role,” Bowling added.

He pointed out that the characters were not necessarily the way history generally portrayed them. “They were people. There were brilliant minds on both sides.”

4. I know the show had a couple of national tours but I wonder do you think this show would be applauded the same way in the deep South today as when it first came out in the 60’s.

“Yes. It would aloso play well in the South. It is funny and romantic. John Adams is the main character. But he is difficult, and slavery is a bargaining point,” Bowling said.

“You have different points of view – conservative and liberal. It reflects the culture of the time and when it opened in the 1960s it still spoke to us then and today,” he said.

“It’s about compromise. It’s about the signing of the Declaration of independence. It’s about Democracy. We see what each person, each group, is willing to give up.”

For show tickets and more information visit Marriott Theatre.

Jodie Jacobs

Chicago Air and Water Show back in town

U.S. Army Parachute Team Golden Knights (Photo credit: Sgt. Brian Collett Courtesy of U.S Army Parachute Team)

Photos courtesy of DCASE (Dept of Cultural Affairs and Special Events) and the City of Chicago)

Figure now where you want to watch Chicago’s famed Air and Water Show, 10:30 a.m. to 3 p.m., Aug. 10 and 11, but also Aug. 9 in 2024.

The extra day isn’t a misprint or a rescheduling of the show. It is the Friday before the big weekend when pilots practice and check out the territory and weather.

North Avenue Beach is ground zero but the planes will be seen zooming overhead up and down Chicago’s lakefront. This year features the U.S. Navy Blue Angels and the U.S. Army Parachute Team Golden Knights.

Tip: Looked forward to every year, the experienced visitors know that Friday is good because the beach venue is the least crowded and many of the performers, including those featured, will be around.

U.S. Navy Blue Angels (Photo credit Patrick L. Pyszka, City of Chicago)

Typically, the Blue Angels perform towards the end of the afternoon, but crowds gather early on the beach, so plan to spend the day watching all the action (bring sunscreen and hat protection).

Crowds is an understatement. Begun in 1959, the Chicago Air and Water Show, has become the largest and oldest, free admission exhibition of its kind in the United States, attracting more than two million viewers during its two-day event.

Among this year’s showstoppers are military performers from the U.S. Marine Corps, U.S. Navy, U.S. Army, U. S. Air Force and the National Guard.

In addition, are aerobatics by such civilian pilots as Bill Stein and Kevin Coleman plus barnstormer Susan Dacy.

Susan Dacy

For more information and the schedule visit City of Chicago :: Chicago Air and Water Show

Jodie Jacobs

Wells and Welles is a war of words

Wells & Wells

Highly Recommended

Two great minds collide over “A War of the Worlds.”

In 1938, twenty-five-year-old (George) Orson Welles became famous after his radio play based on this book shook the airwaves, purportedly nearly causing national panic.

The book’s seventy-five-year-old author, H.G. Wells, was not amused at how his intellectual property was, in his mind, misused without permission.

Based on an actual encounter in 1940 the two men, Wells and Welles, both happened to be on lecture tours finding each other in San Antonio, Texas on the same rainy night.

Done by Lucid Theater at City Lit, the production perfectly captures the moment in “Wells and Welles” when a young Orson Welles (Gerrit Wilford) arrives hat-in-hand at the motel room of H.G. Wells (Pete Blatchford) to – as he says – “bury the hatchet.”

The older Wells sees little need for further discourse as he has already agreed to drop any potential legal proceedings and makes it clear that, as the author of over fifty books, he considers the younger man’s endeavors in radio and film to be of little artistic value and simply sensational and crude.

Wells mentions in passing that he considers himself a journalist. Seizing on this insight Orson manages to get the author’s attention with a summary of a film he is working on called “Citizen Kane.”

The story is based loosely on the life of media magnate William Randolph Hearst. But in reality, it is about a man who seemingly has it all. However, in the process, has lost everything that is most dear to him.

The ensuing conversation involves the perception of age, youth versus experience, and using artistic expression to share a vision of the future but also as a means to fulfill one’s perceived personal destiny.

As the play progresses, we gain insight into the lives and minds of both men. We find Welles has an ulterior motive. Whether or not it can be fulfilled is where the tension lies in this soft-spoken clash of intellectual titans.

The exceptionally well written dialogue by Chicago playwright Amy Crider is superbly performed by Blatchford and Wilford. Produced by Lucid Theater, it is the type of smart, emotional, intimate theater that is particularly well suited to City Lit.

Nicely directed by Amber Mandley, the pacing is excellent and the players move thoughtfully and meaningfully around Kevin Rolfs’ set design depicting the motel room of H.G. Wells. Technical director Alvaro Ledesma’s lighting and sound design did an effective job of setting the rainy evening ambience.

Blatchford is a veteran Chicago actor who has performed in Scotland. His British accent is flawless.

Based on what I know of Welles, it is notable to say that the large fedora with matching topcoat, generally impeccable attire and the fastidious grooming of Wilford immediately made me believe I had encountered Orson Welles.

This world premiere play has national, indeed worldwide appeal and should be readily snapped up by other smaller theaters around the globe and acting pairs looking to showcase their abilities to embody two interesting and thought-provoking characters.

Details: “Wells and Welles” is at City Lit, 1020 W. Bryn Mawr Ave., Chicago, through August 11, 2024. Running time is 70 minutes with no intermission. For tickets visit Eventbrite.

Reno Lovison

For more reviews visit Theatre In Chicago

Plan details expansion and changes at Brookfield Zoo

Brookfield Zoo Chicago just released details of a transformational Next Century Plan that will reshape more than 100 acres (nearly half of the Zoo’s existing property) in innovative and inspiring ways for wildlife and guests.

Slightly edited to meet publication word-count, the plan blends historic structures with new animal zones. The Zoo will have immersive habitats that provide for the best in animal care while creating rich experiences for guests that engage audiences and connect to conservation.

Also in the plan is a more interesting and welcoming North Gate entrance and experience.

New North Gate

What to expect: a 15-year campus plan in four phases, with further improvements projected over 30 years. This vision balances new, immersive experiences with the preservation of historical structures and includes nearly all existing Zoo areas.

It also calls for significant westward expansion and development of current Zoo property, blending new mixed-species environments inspired by 14 global eco-regions into the existing rich forest canopy.

With an investment expected to reach $500 million from public and private funding, the plan aims to not only to transform the physical campus but also solidify the Zoo’s role as a leader in global wildlife conservation.

According to Brookfield Zoo officials and partners, the plan should make a substantial economic impact on local communities, surrounding counties, and the state, as well as bolster the Zoo as a global destination.

The first phase of the Next Century Plan has already begun. It includes completed projects, such as the $10 million renovation of the Zoo’s Seven Seas dolphin habitat, reimagining of the Theodore Roosevelt Memorial Fountain, new animal habitats within the Hamill Family Nature Plaza, and opening of the Philip W. K. Sweet Jr. Animal Care and Conservation Center with state-of-the-art new office and collaborative spaces for animal and conservation teams.

(South African Forest area in New Gateway to Africa at Brookfield Zoo)

Well underway culminating the end of Phase 1 is– Tropical Forests, a $66 million project that creates four new outdoor habitats meticulously crafted to emulate the natural homes of gorillas, orangutans, and monkeys, set to open in 2025. The Tropical Forests project also incorporates a new Gorilla Conservation Center and the Zoo’s King Conservation Leadership Academy that provides educational opportunities for teens.

Four Key Zones

The Next Century Plan provides an exciting and innovative new direction for Brookfield Zoo Chicago while weaving together elements of the Zoo’s past. Nearly half of the Zoo’s sweeping 235 acres in the Forest Preserves of Cook County will be re-imagined, expanding wildlife habitats, and transcending conventional zoo design for a fully immersive experience organized into four key zones:

Historical Core: Preserving Brookfield Zoo Chicago’s historic features, including the iconic North and South Gates, the hand-carved Carousel, and the Theodore Roosevelt Memorial Fountain, this area will serve as a bridge between the Zoo’s rich history and its innovative future.
Immersive Ecoregions: To the west, 14 regions will transform the Zoo into a dynamic, landscape-based experience inviting guests through portals to various parts of the world. Native animal species will anchor each deeply immersive ecoregion with environments that mimic their natural habitats, fostering an appreciation for wildlife and their ecosystems. These regions will transport guests, allowing them to experience and connect eye-to-eye with wildlife they otherwise may never have the opportunity to see. These natural habitats will provide enriched animal care and spacious, mixed-species groupings that ensure the animals’ optimal well-being.

Key project examples include:

Gateway to Africa: Leading Phase 2 of the plan, Gateway to Africa will be a 35-acre haven where guests can witness firsthand the splendor of Africa’s wildlife and natural landscapes. A multi-species habitat with 12.5 acres for elephants, alongside rhinos, lions, giraffes, and other iconic species, the transformation will provide a new innovation in animal shifting capabilities for flexibility between the various habitats, linking together four distinct ecoregions: South African Forests, African Savannah, East African Forests, and Central African Forests. This flexibility will be possible thanks to the creation of the new Savannah Passage, a half-mile-long, multi-species transfer corridor that allows for rotational habitat expansion and variety. The Savannah Passage links multiple habitats across the northwest quadrant of the Zoo, facilitating a changing landscape for the animals and guests to experience.

(Pachyderm Building in Gateway to Africa)

Also in Gateway to Africa – Pachyderm Building: The renovation of the beloved Pachyderm Building – one of the Zoo’s original structures – will reverse the current animal-guest relationship by replacing indoor animal space with exciting guest programs during the day, and private catering event space in the evening, offering expansive views to the flexible, mixed-species Savannah habitat north of the building. New animal facilities will be developed elsewhere that provide spacious indoor habitats and the best in modern zoological care.

*Southwest Australian Provinces: Guests will be instantly transported to the landscapes of Southwest Australia, venturing into scrublands with towering termite mounds and the mysterious call of tawny frogmouths, while vibrant rose-breasted cockatoos flit through the canopy. An elevated walkway will offer panoramic views of iconic species such as kangaroos and emus, and intimate encounters with koalas nestled in eucalyptus trees. Exiting through a forest portal, guests will reach the newly renovated historical Australia House, home to Tasmanian devils, wombats, and echidna in lush indoor and outdoor environments. This indoor sanctuary will showcase the rich tapestry of Australian wildlife, from tiny insects to elusive reptiles.

Pacific Coasts of the Americas: Sights and sounds of the Peruvian coast come to life in this immersive experience. Guests are greeted by the rhythmic sounds of crashing waves and the salty scent of the ocean breeze, transporting them to the rugged shores of South America. The centerpiece, Sea Lion Cove, features a sprawling habitat where guests can observe sea lions in their natural element through rocky shores and underwater viewing windows, offering a glimpse into their dynamic social behaviors. Adjacent to the sea lion habitat, a training and education area allows care staff to share stories of conservation efforts and to demonstrate the Zoo’s excellence in animal care. The new Humboldt Penguin habitat, inspired by Peru’s Punta San Juan Marine Protected Area, showcases the playful antics of Humboldt penguins alongside free-flying terns and gulls, highlighting the region’s rich biodiversity. Interactive storytelling and environmental education sessions provide guests with a deeper understanding of the importance of protecting these endangered species and the impact of climate change on their habitats.

(New Himalayan and Central Asian Steppe)

Himalayan and Central Asian Steppe: Tucked into the western reaches of the Zoo, this region – a part of Phases 3 and 4 that represents projects starting in 2034 and beyond – will highlight the rugged landscape that is home to snow leopards and takin. Taking advantage of natural old-growth forest on the Zoo’s property, from under a viewing trellis, guests will be able to search among the rocky outcrops to find camouflaged cats exploring their habitats. A nearly invisible barrier between the habitats will create visual continuity with the new takin habitat beyond, where these rock-climbing mammals will delight guests with their graceful movements.

Our Rivers to the Gulf: Also in this third phase, dolphins will have a new, indoor/outdoor shallow-lagoon simulating their home range at Sarasota Bay, Florida, where Brookfield Zoo Chicago leads the world’s longest- running dolphin conservation research program. A sweeping boardwalk will immerse guests in a mangrove forest where connections between the Illinois River and conservation efforts in the Gulf of Mexico are made.
(New Rivers to the Gulf)

Wildlife Discovery: This zone will feature expanded attractions, recreational activities and interactive experiences to engage guests of all ages with the wonders of wildlife. New habitats at the Zoo’s former Bear Grottos will feature animals, including sloth bears, sun bears, wolverines, and red pandas. Designed to create a central, communal space to attract more new and diverse audiences to the Zoo, a spacious new amphitheater situated away from animal habitats will host programs from educational presentations to musical performances, such as the Zoo’s successful Roaring Nights concert series that supports the organization’s conservation programs around the globe. Additionally, a permanent butterfly house will provide year-round opportunities for visitors to learn about the lifecycle and migration of the important pollinators.

4. Conservation Campus: Located at the Zoo’s south end, this area will be a hub for scientists, educators and conservationists, featuring cutting-edge facilities and collaborative spaces. Bringing what are typically behind-the-scenes spaces forward to the public, an indoor viewing gallery will showcase live conservation research and interactive exhibits, fostering a deeper understanding of global conservation efforts. Additionally, the expansion of the veterinary hospital and enhanced education spaces at the Mary Ann MacLean Conservation Leadership Center will provide engaging learning experiences and highlight the Zoo’s commitment to wildlife care and conservation education. The campus will provide an opportunity to further showcase the Zoo’s several programs and partnership with the Forest Preserves of Cook County and work with local wildlife species such as turtles, otters, cranes, and more.

“Our Next Century Plan reflects our core commitment as a zoo to save species and ecosystems. We inspire conservation leadership. We touch lives. We save animals,” said Dr. Michael Adkesson, President and CEO. “The plan boldly envisions the redevelopment and expansion of the Zoo’s physical campus to bolster our excellence in animal care and wellness, but our impact will also extend beyond our gates to reach local communities and global partners to provide a connection for people to develop empathy for wildlife and nature that drives positive action.”

For more information, visit www.BrookfieldZoo.org

Double the pleasure at Northlight

Matthew McGloin and Adam LaSalle as dueling musicians in “2 Pianos 4 Hands” at Northlight Theatre (Photo by Liz Lauren).

Highly Recommended

It’s a play. It’s a concert. It’s a little bit of both. Recently extended until August 11, 2024, “2 Pianos 4 Hands” is a satisfying romp through the lives of two ambitious musicians who long for stardom in a highly competitive industry.

Actors/musicians Adam LaSalle as Ted and Mathew McGloin as Richard, play a range of characters in this humorous, entertaining and poignant show. What they have in common is their quest for excellence on the keys.

The characters tell stories of pushy parents, maniacal teachers, and challenging professionals who bar their entry for further training.

In one scene, they’re both music students competing with each other for the top prize. In another, they act as piano teachers, complete with Italian and French accents.

In another scene, they play parents on both sides of the spectrum. One encourages his son to practice 30 minutes a day. The other criticizes his son for the amount of time he spends practicing at the risk of a normal childhood.

As someone who took piano lessons for many years, the play took me back to the long days of practicing scales and arpeggios, with hands cupped in the right position. And, banging on the piano when I couldn’t get it right, just like they did.

“2 Pianos 4 Hands” includes a treasure trove of classical music from Bach, Beethoven and Mozart as well as popular hits by Billy Joel, Elton John and John Lennon.

Luckily for the audience, their mastery of the piano is over-the-top and we get treated to an outstanding performance.

Written by Richard Greenblatt and Ted Dykstra, the show was directed by veteran actor/director Rob Lindley who says, “Sometimes you must adjust your dreams, never giving up on them. Be the best you can be today and keep working to be better.”

The play was originally produced in 1994 with the authors performing in their respective roles for more than 30 years. “2 Pianos 4 Hands” is simply timeless.

Details: “2 Pianos 4 Hands” is at the Northlight Theatre in the North Shore Center for the Performing Arts, 9501 Skokie Blvd in Skokie. Running time: 2 hours, 30 minutes with one 15-minute intermission. For tickets and information, visit Northlight Theatre | 2 Pianos 4 Hands or call the box office at (847) 673-6300.

Mira Temkin

For more shows visit Theatre In Chicago.

Do not expect the movie or book in ‘Midnight in the Garden of Good and Evil’ – The Musical

Mary Ernster, Christopher Kelley, Sean Donovan, Andre Malcolm, J. Harrison Ghee, DeMarius R. Copes, Jarvis B. Manning Jr. and Wes Olivier in "Midnight in the Garden of Good and Evil" at the Goodman Theatre. (Liz Lauren)

Mary Ernster, Christopher Kelley, Sean Donovan, Andre Malcolm, J. Harrison Ghee, DeMarius R. Copes, Jarvis B. Manning Jr. and Wes Olivier in “Midnight in the Garden of Good and Evil” at the Goodman Theatre. (Photo by Liz Lauren)

Highly Recommended

It would be a crime to miss this.

Without a doubt “Midnight in the Garden of Good and Evil” is the best musical I have seen in years. You will be hearing a lot about this for some time as word spreads of this world premier production currently at the Goodman Theater.

The action begins, revealing a spectacular Spanish moss draped dimly lit atmospheric set design by Christopher Oram worthy of a grand opera.

We come to learn in the opening number “Bonaventure” that we are in an aged cemetery in Savannah, Georgia. Voodoo practitioner, Minerva (Brianna Buckley) wails a ghostly incantation as various figures move silently among the monuments.

As the lights become full, the tone shifts. It is daylight and Jim Williams (Tom Hewitt) continues the song explaining where we are and introducing us to some of the quaint customs of Savannah society including the reverence for the past and importance of social drinking.

Over the course of the play, we learn that Jim Williams is a gay antiques dealer and nouveau riche restorer of homes. His pride and joy is the restoration of Mercer House, a stately but at one point quite neglected derelict mansion built by the great-grandfather of famed composer Johnny Mercer.

The Mercer connection is interesting because “Midnight in the Garden of Good and Evil” is based on a true story. In fact, it is a “true crime story” that interweaves high society with a number of alternative lifestyle individuals and others considered outside the elite social strata including a gay man and his “white trash” lover, a drag queen and an African American debutante.

The 1980s era high society Savannah ladies led by Emma Dawes (Sierra Boggess), fond of mentioning her invitation to the White House, intersect with the rest through Williams and a mutual love of restoring old Savannah homes.

This is not a whodunnit. We come to learn soon enough who did it. Rather this is a story of restoration. Not only the restoration of houses but also the quest to restore one’s life and indeed, one’s soul.

The parallel story is that of “The Lady Chablis” (J. Harrison Ghee), a popular drag queen who treats the audience to a very enjoyable and frank performance at “The Shed” where she is the headliner.

Lady Chablis loses her job after a particularly bawdy performance, setting her on a quest to restore what she perceives to be her deserved station in life.

The story is not too complicated. It’s there to move the action, and this show is all about the action presented as a series of vignette performances that are more like Burlesque scenes, any one of which would wow a Las Vegas nightclub in the 80’s.

Keep in mind that this is a period piece that takes place in a very particular place at a very specific time. Some might argue that the portrayal of LGBTQ characters are somewhat two dimensional, even stereotypical, which is how they generally were portrayed at the time. But at least in the 1980s they were beginning to be seen and their stories could begin to be presented to a mainstream public.

Perhaps in the New Millennium we are more enlightened, but for some, indeed many, perhaps not.

The audience’s sympathy for Williams and appreciation for the talent and struggle of Chablis means we are breaking through and seeing these individuals as real people not simply cardboard cutouts.

Jason Robert Brown’s music and lyrics are phenomenal and inspired, harkening back to the Great American Songbook and jazz stylings of the twentieth century.

One lyric describing Savannah says something like “If your idea of an auntie leans toward antebellum . . .” is vintage tin pan alley. Perhaps inspired by Mercer and others there are notes of Sondheim as well.

But this work is not derivative. It is fresh and unique. Each number is expertly performed by arguably one of the most impressive performance companies to grace a Chicago stage in recent memory. From Ghee and Hewitt at the top through to every swing dancer, each performer is top-notch. When this show moves to Broadway which it undoubtably will, it should run for years.

When Buckley as Minerva begins her incantation, we know this is going to be interesting but when Hewitt begins his part of “Bonaventure” with his amazing voice we know we are in for something special.

Likewise with Ghee as Chablis. When she does her number “The Shed Shack” buckle up because we’re going on an unexpected ride. “Let There Be Light” in the first act is a show stopper and “Butterflies” was a touching and fitting finale.

Boggess as Dawes offers much of the comic relief but her impressive soprano gives her songs added dimension that takes them beyond novelty numbers.

“Lift Her Up” led by Bobby Hutchins with dance performance by ingénue Lavella Cole and company is likely to become a staple at every cotillion, bat mitzvah, sweet sixteen, graduation and some weddings.

Congratulations to The Goodman for assembling such a high caliber cast of performers and production team from the set design (including a spectacular chandelier), lighting, music, costumes (Toni-Leslie James) to the outstanding choreography of Tanya Biri-Torres aided by incredible swing dancers who were able to execute their moves – all brought together in a seemingly effortless fashion by Director Rob Ashford with Musical Direction by Thomas Murray.

Opening night was one to remember. John Berendt, the author of the best-selling book, was on hand for the curtain call and to see this new musical version written by Taylor Mac come to life. The excitement of the evening spilled out into the street as people chattered about what a great time this was.

This show runs nearly 3 hours including a 15-minute intermission. Likely they will find a few more cuts and trims as they see what works and what doesn’t but I would hate to be the one making those decisions. Every number is a gem.

Details: “Midnight in the Garden of Good and Evil” is at The Goodman Theatre, 70 N Dearborn St, Chicago, IL 60601, extended through August 11, 2024. Running time: about 2 hours, 45 minutes with one 15 minute intermission. For tickets and information visit https://www.goodmantheatre.org or call the box office at (312) 443-3800 (12noon – 5pm daily).

By Reno Lovison

For more shows visit Theatre In Chicago

Food prep and relationships stir the pot in ‘Hot Wing King’

Joseph Anthony Byrd (from left), Jabari Khaliq, Breon Arzell, Thee Ricky Harris and Jos N. Banks star in "The Hot Wing King" at Writers Theatre.

(From left) Joseph Anthony Byrd, Jabari Khaliq, Breon Arzell, Thee Ricky Harris and Jos N. Banks in “The Hot Wing King” at Writers Theatre. (Photo by Michael Brosilow) in ‘The Hot Wing King’ at Writers Theatre

Recommend

Winner of the 2021 Pulitzer Prize for Drama, Writers Theatre audiences learn there’s a lot more to “The Hot Wing King” than food prep for the Annual Hot Wing Festival taking place the next day in Memphis.

As Cordell (Breon Arzell) prepares his marinade and chicken wings with boyfriend Dwayne (Jos N. Banks) and friends the backstory of their relationship and their family problems boil over when Dwayne’s nephew, 16-year-old Everett (Jabari Khaliq), knocks at their door.

Written by Katori Hall and directed by Lili-Anne Brown, the story slowly unfolds with dropped remarks until the audience fully realizes all the problems facing the characters just as the production breaks for intermission.

The nice, upscale house on stage is owned by Dwayne who is manager of an upscale Memphis hotel and likes to manage people’s lives. Cordell, moved from St. Louis to Tennessee when the two fell in love. Everett is the son of Dwayne’s sister who tragically died a couple of years ago. Dwayne feels responsible for her death.

The acting is excellent, but I think the audience would appreciate the problems the partners faced if they understood more of the back story earlier instead of just clues from remarks.

The good news is that it all works out.

Details: “The Hot Wings King” is at Writers Theatre ,325 Tudor Court, Glencoe through July 21, 2024. Run time: about 2 hours, 20 minutes with one intermission. For tickets and other information visit Writers Theatre or call (847) 242-6000.

Jodie Jacobs

For more shows visit Theatre in Chicago

‘Beehive’ brings a dizzying decade to Marriott Theatre

“Beehive: The 60s Musical” ( Photo by Liz Lauren)

Five Stars

With all the great music venues in Chicago who would have predicted that one of the best pop concerts this summer would be at Marriott Theatre in suburban Lincolnshire.

Happening under the guise of one feminine hair style fad, “Beehive: The 60’s musical,” celebrates the multi-culture and frequent social changes of a tumultuous decade.

And it does so with terrific vocalizations and instrumentals.

The show stars six exceptional singers: Emma Grace Bailey (Marriott Theatre: The Music Man; Metropolis PAC: A Christmas Carol); Grace Bobber (Marriott Theatre: The Sound of Music, Paramount Theatre: Into the Woods); Lucy Godinez (Marriott Theatre: Big Fish, American Repertory Theatre: Real Women Have Curves); Miciah Lathan (Marriott Theatre debut; Black Ensemble Theatre: The Other Cinderella; Leah Morrow (Marriott Theatre: Madagascar; TV: Somebody Somewhere, neXt ); and Aisha Sougou (Marriott Theatre: Beautiful, University of North Carolina School of the Arts: Crow’s Nest).

Understudies are Bridget Adams-King, Clare Kennedy, Tiyanna Gentry, and Savannah Sinclair.

The band is onstage led by keyboardist Celia Villacres. Musicians include Karli Bunn, Stephanie Chow, Kellin Hanas, Camila Mennitte, and Lauren Pierce.

Created by Larry Gallagher, “Beehive” is basically a covers musical that includes such songs as “Walking in the Rain” (Mann/Spector/Weil) and “Will You Still Love Me Tomorrow” (Goffin/King) and “performances” of such stars as Aretha Franklin, Diana Ross, Tina Turner and Janis Joplin.

“The 1960’s was a decade known as one of, if not THE decade, that experienced the biggest shifts in music, fashion, culture and social evolution and revolution.” said director/choreographer Deidre Goodwin. “Beehive” is a love letter to the music of the 1960’s. It became a generation’s soundtrack for first loves, heartbreak, social awareness and growing up,” added Goodwin.

A packed house, Wednesday, appreciated the messages and music.

If not for the announced need to keep aisles clear for performer costume changes, the opening day crowd Wednesday, would have been dancing, shouting, clapping, and singing along those pathways instead of just shouting, applauding and rising from their seats.

Unlike “1776” which comes mid-August and “Irving Berlin’s White Christmas” for December, Marriott Theatre has deviated from its usual fine but tried-and- survived musical show schedule to bring us this over-the-top pop concert.

Thank you, Marriott Theatre.

Details: “Beehive” is at Marriott Theatre, 10 Marriott Drive, Lincolnshire, now through Aug. 11, 2024. Run time is 120 minutes with no intermission. For tickets and more information call (847) 634-0200 or visit www.MarriottTheatre.com.

Jodie Jacobs

For more shows visit Theatre in Chicago