Reviews – Chicago Theater and Arts

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

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

An artistic journey through Black history

Five performers in black leggings, T-shirts, and kente cloth dance in a line. The actor second from left plays a djembe.

“1619: The Journey of a People” at Fleetwood-Jourdain Theatre, Evanston. (Photos by Basil Clunie)

Recommended

“1619: The Journey of a People” by Ted Williams III is an entertaining and informative chronology highlighting essential events in the progression of the African American experience.

It uses music, dance and spoken word to craft an historical narrative that begins with the arrival of twenty slaves who landed on the North American continent roughly 150 years prior to our nation’s founding and continues through the most recent Black Lives Matter movement.

The performances are outstanding beginning with an all-cast stylized African dance routine. It’s punctuated with cries and whip sounds accompanied by the evocative complex drum beat of percussionist/actor Ozivell Eckford that sets the tone for the first part of the journey.

Interweaving traditional, pop, gospel, soul, hip-hop and rap, the musical styles change with each historic period represented.

The gospel-like version of the “Star Spangled Banner” performed by Simbryt Whittington Dortch was rousing and soulful as was her memorable heartfelt version of “Steal Away.”

Williams and Marchello Lee’s duet of “Booker T or W.E.B.” was a fast-paced explanation of the two men’s points-of-view on the actions needed toward progress.

“I Thought We Were Free” led by Shannon Stiles with backup vocals by Vanessa Love and Lucy Maura continued an energetic gospel vibe.

Lee’s choreography was expertly executed by dancers Love and Maura, the highlight of which was the visually stunning butterfly number featuring LED accented costumes by Cynthia Walls.

Action takes place in front of a 180-degree mixed media mural by Sholo Beverly reminiscent of graffiti art, blending a mélange of colorful muted images imbued with hidden messages.

The background is mostly in shades of blue, punctuated by areas of shocking red and white. Above that is a suspended array of sepia-colored broadsides and newspaper headlines proclaiming various momentous occurrences in African American history.

This production is jam packed with important information about individuals and events that shaped the history of black people in America, cleverly presented as a kind of Cliff’s Notes version of what you need to know to pass your high school black studies class.

It is not surprising that the author, Ted Williams III who also appears on stage, is himself a Poli-Sci teacher at City Colleges of Chicago.

As a theatrical production there may be more interesting ways to tell this story. Williams alludes to Alex Haley’s Roots, possibly the gold standard of black history presented in a creative context.

Indeed, this is not really a story at all but rather a multi-arts recital or cabaret show with a message. So, in this sense” 1619″ is not strictly theater but more of a performance arts review.

Ultimately, the result is a kind of pre-test fever dream full of fragmented pieces of information, names, places and events that will make you feel a need to pay attention to and take a lesson from.

However, that is not a bad thing. In fact, it is a very enjoyable, thought- provoking, ninety minutes or so that will have some of us “more chronologically experienced” members of the audience appreciating the number of events that have taken place within our own lifetime.

I really wanted to jump to my feet and join-in on “We Shall Overcome” to relive some of the excitement of the promise of potential unity that song evoked back-in-the-day.

I was happy to see a number of young people in the audience who will hopefully take away a snapshot of the bigger picture of the African American journey that might encourage them to want to know more and delve deeper into the causes and effects that have brought us to this particular moment in time.

Fleetwood-Jourdain Theatre specializes in African American and African Diaspora-centered storytelling. The Noyes Cultural Art Center stage and theater is a perfect sized comfortable venue for this production.

DETAILS: “1619 the Journey of a People, ” is at the Fleetwood-Jourdain Theatre Noyce Cultural Art Center Center, 927 Noyes Ave., Evanston through June 30, 2024. For more information call 847-866-5914 or visit fjtheatre.com

Reno Lovison

For more shows visit Theatre in Chicago

The Tony Awards

Marking 77 years of recognizing exceptional excellence on Broadway, the Antoinette Perry Awards (“Tony”®Awards) were announced at the David H. Koch Theater at Lincoln Center for the Performing Arts, New York City, June 16, 2024.

Hosted by Ariana DeBose, the show started out with Leading Actor in a Pla, won by Jeremy Strong in “An Enemy of the People.” Originally written by Ibsen, it is an impressive story about a person who would not go along with the people in power who promote an incorrect local history. It was impressively done in Chicago.

The following are the award winners:

Award	Winner
Best Musical	The Outsiders
Best Play	Stereophonic
Best Revival of a Musical	Merrily We Roll Along
Best Revival of a Play	Appropriate
Leading Actor in a Musical	Jonathan Groff (Merrily We Roll Along)
Leading Actress in a Musical	Maleah Joi Moon (Hell’s Kitchen)
Leading Actor in a Play	Jeremy Strong (An Enemy of the People)
Leading Actress in a Play	Sarah Paulson (Appropriate)
Featured Actor in a Musical	Daniel Radcliffe (Merrily We Roll Along)
Featured Actress in a Musical	Kecia Lewis (Hell’s Kitchen)
Featured Actor in a Play	Will Brill (Stereophonic)
Featured Actress in a Play	Kara Young (Purlie Victorious)
Best Direction of a Musical	Danya Taymor (The Outsiders)
Best Direction of a Play	Daniel Aukin (Stereophonic)
Best Book of a Musical	Shaina Taub (Suffs)
Best Original Score Written for the Theatre	Suffs (Shaina Taub)
Best Scenic Design of a Musical	Tom Scutt (Cabaret at the Kit Kat Club)
Best Scenic Design of a Play	David Zinn (Stereophonic)
Best Choreography	Justin Peck (Illinoise)

To understand the award process and who were competing visit 2024 TONY AWARD® NOMINATIONS | The American Theatre Wing’s Tony Awards®

Jodie Jacobs

‘English’ at the Goodman speaks eloquently about language and identity

Pej Vahdat, Sahar Bibiyan and Roxanna Hopen Radja in “English” at Goodman Theatre. (Photo by Liz Lauren)

Highly recommended

When you cannot adequately express yourself with the nuance and clarity of a native speaker, people do not realize that you are actually smart, funny, and kind. Instead, they only hear your imperfect pronunciation and limited vocabulary. You may be assumed to be inferior with little or nothing to offer.

Whether this is one hundred percent true or not, these are some of the fears that plague four adult students and their teacher studying for an English language proficiency exam in Iran.

Witty, insightful, cleverly written and produced, “English” is a Pulitzer Prize-winning play by Sanaz Toossi, directed by Hamid Dehghani and performed brilliantly at Chicago’s Goodman Theatre.

Roya (Sahar Bibiyan) is a youngish grandmother whose son is living in Canada. He wants her to be able to speak English with her granddaughter before she can rejoin the family.

Elam (Nikki Massoud) is a medical student whose insecurity about how people might perceive her heavy accented speech is stifling her progress.

Goli (Shadee Vossoughi) at eighteen is the youngest in the class, basically taking the whole experience in stride and doing her best to achieve her dream of passing the English exam that might be her ticket to a temporary work permit (green card) in America.

Instructor, Marjan (Roxanna Hope Radja) who had spent nine years living in Manchester, England, fears she is losing her proficiency advantage since returning to Iran. She spends much of her time leading the class through amusing word games while insisting that students speak only in English when in class and not lapse into Farsi when frustrated.

Omid (Pej Vahdat), the only male in the class, is the most proficient speaker. He draws ire from Elam and added attention from Marjan who is happy to have someone to speak with.

Pej Vahdat (Omid), left, and Iranian teacher Roxanna Hope Radja, (Marjan) in Goodman Theatre’s “English” by Sanaz Toossi. (Photo by Liz Lauren)

The set design by Courtney O’Neill immediately supports the voyeuristic experience, with the audience literally providing the third wall of the classroom as though we are peeking through a one-way glass. The window on the back wall provides a tantalizing glimpse of the outside world.

We all likely have some experience with immigrants who have learned English as a second language. Most of us have immense respect for their accomplishment and abilities.

Toosi takes this one step further by bringing us into the inner thinking of the members of this class. The show helps us to not only experience the frustrating process of learning a new language but also asks us to consider that language is not simply a matter of exchanging one word for another because your mother tongue is deeply related to your culture, personal identity and sense of self.

Feeling like you are not fully capable of expressing your deepest thoughts and emotions with utmost clarity is like navigating the world with one hand tied behind your back. Additionally, it may make some people feel as if they are rejecting their culture while others who achieve the elusive goal of total proficiency might feel a euphoric sense of accomplishment and pride at being able to straddle two worlds, indeed two ways of thinking.

Details: “English” is at The Goodman Theatre, 170 N. Dearborn, Chicago, IL through June 16, 2024. Runtime is about 1 hour and 45 minutes with no intermission. For tickets and information visit goodmantheatre.org or call the box office (312) 443-3800 (noon to 5 PM).

Reviewer: Reno Lovison is a Chicago video marketing professional and volunteer ESL tutor.

For more shows visit Theatre in Chicago

Chef Art Smith at Navy Pier

(Photo by Carole K. Brewer)

From the Reunion website:

“The food does not have to be elegant, complicated, or fancy. We find that busy people like simple food—the busier they are, the simpler the food. Our menu at REUNION is straightforward, down-home Southern food with a few more contemporary dishes.”

Agree, but it should taste good. And the restaurant interior should be a little more atmospheric than the standard food court inside Navy Pier.

Having followed James Beard awards and nominations for several years, I was looking forward to trying award-winning chef, Art Smith’s restaurant, “Reunion,” at the front of Navy Pier.

The outside wasn’t open when our group visited but it did look inviting. Inside, not so much.

The menu also looked inviting. But it did matter what you ordered as far as taste goes.

My friend and I ordered the three Chicken Sliders on the “First Bites” section of the menu because we hoped it would be a taste treat of Smith’s famous Southern Chicken. Except for the honey, the sliders were barely edible and not encouraging as to trying other chicken dishes.

However, another member of our group ordered the crab cakes, also on the “First Bites” menu. They were little but she declared them “spectacular.” Coming from the DC area where she gets Maryland crab cakes, that’s a high recommendation. She also liked that they were mostly crab and not mostly filling.

Would be happy to hear what you think if you have been to chef Art Smith’s restaurant at Navy Pier.

(Photo courtesy of Reunion website)

Navy Pier is at 700 Grand Avenue, Chicago.

For more information visit Reunion Restaurants.

Jodie Jacobs

Luck be a lady

Alanna Lovely and the company of "Guys and Dolls" at Drury Lane Theatre. (Brett Beiner)

Alanna Lovely and the company of “Guys and Dolls” at Drury Lane Theatre. (Photo by Brett Beine

Recommended

Frank Loesser’s songs make Drury Lane’s production of “Guys and Dolls” work as a night out.

And hearing Erica Stephan sing in the role of missionary Sarah Brown is worth the price of admission. She is particularly right at home in her tipsy Havanna foray as she rings out “If I were a bell.”

That’s the good news.

But nice as the ensemble with Nicely Nicely Johnson (Nkrumah Gatling) is in “Sit down You’re Rocking the Boat” near the end, the production left me wishing it had moved along with more excitement and vigor.

The book, by Jo Swerling and Abe Burrows based on some Damon Runyon stories, pulls up Guys and Dolls’ memorable, (or at least familiar sounding to oldsters) characters as Nathan Detroit played by Jackson Evans, Sky Masterson interpreted by Pepe Nufrio and burlesque performer Miss Adelaide, perfectly taken on by Alanna Lovely.

Just as the songs such as “I’ve Never Been in Love Before” that Sara and Sky sing will sound familiar along with “Take Back Your Mink” and “More I Cannot Wish You.”

Pepe Nufrio and Erica Stephan stand on stage in 'Guys and Dolls.'

Professional gambler Sky Masterson (Pepe Nufrio) woos Sarah Brown (Erica Stephan), the prim Save-A-Soul missionary in “Guys and Dolls” at Drury Lane Theatre. (Photo by Brett Beiner)

Director/choreographer Dan Knechtges’ revival leans more towards “camp” than the classic musical comedy seen in the show’s past film and stage versions.

But this show does revolve around “the oldest established permanent floating crap game in New York.”

Details: “Guys and Dolls” is at Drury Lane Theatre, 100 Drury Lane, Oakbrook Terrace, IL through June 9, 2024. Running time: 2 hours, 35 minutes with one intermission. For tickets and more information visit Drury Lane Theatre.

Jodie Jacobs

For more shows around town visit Theatre in Chicago.