Guest Reviewer – Chicago Theater and Arts

For the Love of Dance

(Maddy Shilts, Whitney Wolf, Ben Isabel, Ben Paynic, Luis Del Valle, Elizabeth Bushell, Madelynn Oztas)

Recommended

Directed by Wayne Mell, this Madkap Production of “A Chorus Line” at the Skokie Theatre, is on pointe. It taps into the essence of love and dedication to the art of dance.

“A Chorus Line” is an anthology of songs and monologues bringing to light the collective motivations and inspirations that keep people involved in a mentally and physically demanding occupation.

Through the individual stories and seemingly endless rehearsals we are reminded of the hard work and athleticism required to make moving to music look artful and effortless. All of that requires intense dedication while offering only rare substantial successes.

Onerous choreographer Zach played by Sean M.G. Caron, cajoles a select group of hopeful chorus applicants into revealing some of their deepest secrets while continually drilling them on numerous dance routines. He is barking orders all the time to lift their chin, raise their arms and smile less while looking like they’re having fun.

From those who survive the ordeal only a handful will be selected.

In the song “What I Did For Love,” (music by Marvin Hamlisch and lyrics by Edward Kleban) beautifully sung by Diana (Marcela Ossa Gomez), she says of the grueling work and unmet promises “We did what we had to do – – Won’t forget, can’t regret — What I did for love.” In this context it’s the love of the craft, the love of dance.

It may be a useful reminder that when first staged in in 1975, frank conversations about sexuality in general and homosexuality specifically were unusual and a bit shocking for theater goers. In “Hello Twelve, Hello Thirteen, Hello Love” the ensemble shares stories of puberty, adolescence and sexual awakening.

But in “Dance 10: Looks 3” (a reference to her performance score) dancer Val (Lili Javorka) lightens the mood in a song more commonly referred to as “Tits and Ass” where she reveals that surgically enhancing those assets improved her career.

It cannot be overlooked that the intense, nearly nonstop two-hour score by Hamlisch is a workout for the production pianist, in this case, the extremely capable musical director Jeremy Ramey who must also be credited with the precision of the ensemble vocal numbers and that the musical subtleties and multi-voice harmonies within the songs were preserved and celebrated.

Though there were a few obvious “ringers” the vocal capabilities of the cast exceeded their dancing “chops.” But that does not detract from their earnest effort led by choreographer Susan Pritzker.

The production is a substantial aerobic workout that requires continual attention to complicated footwork and challenging movements, all while singing, talking or being otherwise engaged with what is happening on stage

The onstage leadership of dance captain Ben Paynic, echoed by his character of Larry, was amusing and quietly assuring. In a sense he represented the ideal that all of the rehearsal was supposed to finally achieve.

Set design by Scott Richardson could not be more minimal, consisting of a few mylar sheets as mirrors on the back wall flanking an opening that exposed the backstage area and pianist.

I get that this was supposed to be a rehearsal area and admittedly the Skokie Theatre stage is already a bit small for a show with a large dance ensemble. But when there were only one or two people in a scene, they seemed lost in space.

For instance, in the scene between Zach and Paul (Luis Del Valle) a simple chair might have grounded them and given them a reference point. Likewise, the lighting was virtually nonexistent, being fully up most of the time. This made me as an audience member feel like I was watching a rehearsal and not in a good way

Again, in the previously mentioned scene or during Cassie’s (Sarah Sapperstein) solo dance, some isolating lighting might add to the intimacy of these moments.

Sadly, the costumes by Patti Halajian were overall a miss for me, in this show, where there is so much fun and interesting off-the-rack potential.

The biggest faux pas was the finale which aside from being generally ill-fitting was way too much bling for this small space. What’s important in the finale is that the chorus line be uniform and synchronized. Save the glitter for a larger venue.

Each individual cast member did an outstanding job on their spotlight performances. A standout for me was Emma Drazkowski as Maggie while my wife thought Whitney Marie Wolf as Judy “was the real deal.” I also thought Del Valle’s scene was very moving.

Aside from a few minor gaffs as mentioned this show was great fun and very enjoyable. The full house is a further indication that Madkap provides an important function in Skokie, offering competent entertaining live theater experiences to the Northshore communities in a convenient, comfortable, modern venue.

DETAILS: “A Chorus Line” is at the Skokie Theatre, 7924 Lincoln Ave, Skokie, IL through October 8, 2023. Running time is 2 hours with no intermission. For tickets and information visit http://skokietheatre.org or call (847)677-7761.

Reno Lovison

For more shows visit Theatre in Chicago

Photo by MadKap Productions

A ‘Hart’ felt story of hidden love

From L: Sean M. G. Caron, Mandi Corrao, and Sean Michael Barrett (Photo MadKap Productions)

Recommended

The duo of Richard Rodgers and Lorenz Hart were the genius songwriters behind several hit Broadway musicals with many of their numbers going on to become standards in the Great American Songbook.

This Madkap Production of “Falling for Make Believe” at the Skokie Theatre purports to be “The Real Story Behind the Music of Rodgers and Hart,” but might more accurately be called the real story behind the suffering of Lorenz Hart.

In recent years Hart has been widely known to be an alcoholic though this reality was skillfully avoided during his lifetime and at the time of his death, as alluded to in this version of events. His homosexuality was also a tabu topic in the mid-century “don’t ask don’t tell” era, but is front and center in this updated retelling of his life by Mark Saltzman.

It is notable to mention that Saltzman began his career writing for Muppets creator Jim Henson and in an interview caused a stir when he suggested that he had created the popular characters of Bert and Ernie as a gay couple. He has also written a number of successful movies, and he demonstrates in this well written production that he knows how to tell a story and handle dialog.

The story pivots around the character of a gay farm boy from Pennsylvania, Fletcher Mecklen (Nate Hall) and his on-again-off-again relationship with Lorenz Hart (Sean Michael Barrett), known as Larry to his friends.

: Sean Michael Barrett, Nate Hall, Mandi Corrao, and Donaldson Cardenas (Photo MadKap Productions)

I could not find any reference online to an actual Fletcher Mecklen and therefore assume he is a vehicle for representing the more private, and indeed, hidden side of Hart’s life.

The story suggests that this secret pressure and his inability to openly receive love is perhaps the seminal reason behind Hart’s psychological turmoil.

It is likely a potential factor in his alcoholism, as well as possible drug addiction which is suggested here through the character of Doc Bender (Donaldson Cardenas), a sometimes talent agent and former dentist who tells us that he keeps his license up to date in order to keep his prescription pad valid.

Sean Caron portrays the long-suffering business partner Richard Rodgers who works tirelessly to keep Larry on the straight and narrow in order to keep him working but also to protect his reputation and later his legacy.

Mandi Corrao as Vivienne Segal is basically their on-call chanteuse. Cheryl Szucsits rounds out the cast playing three minor roles but is given the honor of singing “Falling in Love with Love” which features the title lyric “Falling for make believe.”

The production features a number of notable Rodgers and Hart tunes such as” Bewitched” (a/k/a Bewitched, Bothered and Bewildered), “The Lady is a Tramp, ” “I Could Write a Book” and “Where or When.”

DETAILS: “Falling for Make Believe” is at the Skokie Theatre, 7924 Lincoln Ave in Downtown Skokie through Oct 16, 2022. Running time is about 90 minutes including a short intermission. Tickets can be purchased online at SkokieTheatre.org or by calling (847) 677-7761.

Reno Lovison

For more shows visit Theatre in Chicago

‘A War of the Worlds’ reimagined for a new millennium

Photo courtesy of Theatre in the Dark War of the Worlds production.

3 Stars

Is it an audiobook? Is it a podcast? Is it a radio show? Maybe yes but then again maybe no. Actually it is Theatre in the Dark’s virtual audio drama. Perhaps it is partially inspired by Orson Welles’ memorable 1938 radio broadcast of “A War of the Worlds” based on H.G. Wells’ iconic novel about a Martian invasion of the Earth.

Congratulations to this innovative production company whose mission is to create theater performance based on sound and utilization of Internet technology to reach out and engage audiences during these trying times.

This updated 21^st century version of “A War of the Worlds” adapted by director Corey Bradberry and Mack Gordon, is set primarily in and around the Chicago area. (Ironically Bradberry and Gordon met at an improv class at Second City which is now up for sale).

The original book was centered in London at the end of the 19^th century. Then, the 1938 Mercury Theatre on the Air production was based in mid-twentieth century New Jersey. So with so much global turmoil in 2020, why not project a Midwest interstellar invasion into the mix.

The story itself is not complicated. Basically, it deals with peoples’ mostly nonchalant, then chaotic reaction to the presence of an extraterrestrial artifact. First thought to be an asteroid, it turns out to be the beginning of an invasion fleet from Mars.

Theatre in the Dark’s production is not about the story, but rather more about the dramatic performance in the telling of the tale which this company does very well.

It’s a study in contrast that depicts the laid back lives of many city dwellers who are going about their daily business while the first reports of odd occurrences in the seemingly remote village of Bourbonnais, 55 miles south of Chicago, begin to reach the downtown area.

Tension mounts as complacency leads to panic and then to mayhem.

It is probably safe to say that the majority of today’s theater goers have had little or no experience with traditional radio drama. The genre reached its commercial peak sometime in the early 1940’s then limped along into the beginning of the 1950’s.

Indeed, most of us are children of the television age for whom this style of entertainment is an oddity or curiosity. That makes this presentation much more interesting as it encourages performers and audiences alike to explore a nearly forgotten, or at least, underrepresented art form.

Because the audience, listening at home via Zoom, is using sound only with no visual cues such as facial expressions, gestures, or body language, the actors must be extra creative in the verbal projection of their characters.

This is a chance for them to exercise their emotional muscles audibly in a slightly over-the-top way, even flirting with full-on melodrama. Conversely, the audience is challenged to listen closely for the information needed to paint mental images of the situations and the shifting environment.

The construction of one’s mental picture is aided greatly by the sound design offered by Ross Burlingame and Corey Bradberry. They provide continuous, thoughtful, sound effects meshed with an effective, original music score by Ben Zucker.

A major question is why do this live over multiple performances? Tickets are needed for each performance. Why not simply record it?

I imagine part of the answer has to do with the fact that this is a live theater company and that is what they do.

However, one of the unique aspects of this particular production that makes it different from a traditional radio drama is that the actors themselves are not in the same room. They are not necessarily even on the same continent.

Each performer logged in remotely from various locations around the world using their own often makeshift home studios. In this way they are literally pushing the boundaries of what we think of as theater.

What is missing, of course, is the interplay between the audience and the actors. The feedback loop that brings energy to live performance is an element that is difficult to duplicate at a distance.

The freshness of multiple performances will rely on the extent to which the actors innovate and improvise as they discover new opportunities of expression.

But not having been in a theater for over six months, it was exciting to prepare for the eight o’clock “curtain.” This was accomplished by setting the lighting and adjusting my laptop and speakers in the living room, ready to provide an optimal listening experience.

Then, it was settling down with a glass of wine in eager anticipation of this unique event.

As a way to celebrate this Halloween season I encourage you to gather your “pod mates” and a few socially distanced friends (wherever they may be) to enjoy this performance online then consider a Zoom call together to discuss the play or perhaps devise a disaster plan of your own.

Details: Theatre in the Dark players Mack Gordon, Elizabeth McCoy, Alex Morales, Ming Hudson, Robinson J. Cyprian, and Lauren Ezzo will be performing “A War of the Worlds” through November 21, 2020 via Zoom. Running time is 90 minutes with a 10 minute intermission. For tickets and information visit Theatreinthedark/tickets.

Reno Lovison

RENOWEB.NET

Nothing cheesy about ‘The Mousetrap’ at Court Theatre

David Cerda, Allen Gilmore and Kate Fry in Mousetrap at Court Theatre. (Michael Brosilow photo)

4 stars

Many people familiar with Airbnb these days can probably appreciate issues related to inviting visitors into your home or at least dealing with travelling public.

In this popular Agatha Christie mystery, five distinctly eccentric individuals have each booked their stay on the inaugural weekend opening of Monkswell Manor, a country guesthouse owned and operated by Mollie and Giles Ralston (Kate Fry, Allen Gilmore).

Continue reading “Nothing cheesy about ‘The Mousetrap’ at Court Theatre”

Dancing near the river

Riverdance cast at Cadillac P:alace Theatre in Chicago (Jack Hartin Photo) — Riverdance cast at Cadillac P:alace Theatre in Chicago
(Jack Hartin Photo)

4 stars

“Riverdance” has played for a quarter of a century. Now appearing in Chicago at the Cadillac Palace Theatre, the company is celebrating its 25^th anniversary.

Composed by Bill Whelan, produced by Moya Doherty and directed by John McColgan, Riverdance’s folk-driven exciting sounds and steps have been loved by people of all ages.

In 1995, the show’s premiere was in Dublin with Irish and international music and dance. Then it went to London followed by a hugely successful tour begn in New York in 1996.

During the next two decades, “Riverdance” toured North America, Asia, Europe, Oceania, South Africa, and South America. It has been a favorite Grammy Award-winning show all over the world!

Trading taps at the Riverdance show in Chicago. (Jack Hartin Photo)

The Riverdance Irish troupe was 24 dancers, with the six principals being Will Bryant, Maggie Darlington, Anna Mai Fitzpatrick, Patrick O’Mahony, Jason O’Neill, and Gianna Petracic.

The Riverdance tappers were Lamont Brown and Tyler Knowlin. And there were also additional dancers in the Russian folk dance troupe.

Not only was the audience thrilled with the dancing, but the singers, drums, saxophone, fiddles and whistles made the music fabulous. And the background showed many places, beginning with the river and continuing through many areas with spectacular lighting and beautiful costume designs.

DETAILS: “Riverdance” is at Broadway In Chicago’s Cadillac Palace Theatre at 151 W. Randolph St., Chicago through Feb. 9 2020/. Running time: 2 hours with one intermission. For tickets and other information, call Broadway In Chicago at (800) 775-2000, or go visit Broadway in Chicago.

Francine Pappadis Friedman

For more shows visit Theatre in Chicago

Top Chicago shows list for 2019

Of course, theater audiences want different things before going ahead to spend money and time on a show. Some folks prefer musicals, others like Shakespeare and some gravitate to shows that are different or particularly creative. Because opera is also dramatic theater that requires excellent acting, compelling story lines and fine voices, we include Lyric Opera productions when applicable.

Here is Chicago Theater and Arts reviewers’ list of favorite productions seen during 2019 which was designated by the City of Chicago and the League of Chicago Theatres as the Year of Chicago Theatre.

Francine Pappadis Friedman

“Jersey Boys” at the Auditorium Theatre in April, 2019. I headlined it: ‘Oh, what a night!” Amusing dialogue was interspersed with tremendous songs by four guys, the story of Frankie Valli & The Four Seasons who were living in New Jersey. Not only did their songs keep the audience laughing, but even younger audience members were swinging and swaying in their seats. And many of their songs sang about love!

“Falsettos” at the James M. Nederlander Theatre in May/June 2019. I headlined it: “Let’s live life through music.” It was a fabulous musical taking place in New York in the 1970s, with a psychiatrist, gay men and women, and a little boy—one of the main characters—who was worried about his father’s sexuality when his parents got divorced. The story moved along with songs and the boy, whose father sang “Father to Son,” that said he’d always be there for him.

From L. Kyrie Courter (Natalie )Keely Vasquez (Diana) David Schlumpf (Dan) and Liam Oh (Gabe) in Next to Normal at Writers Theatre. (Photo by Michael Brosilow)

Jodie Jacobs

“Next to Normal” at Writers Theatre, Glencoe in June. Writers Theatre unerringly brought to the stage what life is like in a home where a family member is mentally ill. Penned by Brian Yorkey who also did the lyrics and with music by Tom Kitt, the show took three Tony awards in 2009. It also won the Pulitzer Prize for drama because even though it has highly expressive musical numbers, it is not a feel-good musical.

“Oslo” a Timeline Theatre production at the Broadway Playhouse in October, brilliantly revealed the behind the scenes negotiations in Norway that led up to the famed handshake on the White House lawn between Israeli Prime Minister Yitzhak Rabin and Palestine Liberation Organization (PLO) leader Yasser Arafat in 1993. What “Oslo,” the multi-award-winning play by J. T. Rogers does is introduce audiences to Mona Juul, superbly acted by Bri Sudia whose sensible but passionate portrayal of the Norwegian diplomat who initiated the behind the scenes action, glides from serious to charming to comic, and to Scott Parkinson who as facilitator Rød-Larsen has the difficult task of making all the players in the sensitive negotiations, look good.

Don Giovanni” at the Lyric Opera House in November and December is an 18^th century Mozart opera in perfect tune with #MeToo times. If you knew before seeing Lyric’s outstanding production of “Don Giovanni” that (Il dissouto punita, ossia il Don Giovanni), translates as “The Rake Punished, namely Don Giovanni “ (also The Libertine Punished), you would have some idea that the opera was not about a lover but about a powerful man who felt entitled to take sexual liberties. However, directed by Robert Falls, artistic director at Goodman Theatre, the Lyric production skillfully makes the comic moments funnier, the sexual attempts more offensive, the violence more dramatic and the punishment more tumultuous.

Sean Higgins and Marie Weigle in International Falls. (Photo by Katie Reynolds)

Reno Lovison

“International Falls” by Agency Theater Collective and End of the Line Production at the Nox Arca in August. It was an intimate play with truthful dialog that was well acted.

“My Life as A Country Song” by New American Folk Theatre at Chief O’Neill’s in October. It had very good original music.

Huber Marionettes Gypsy Dancer. (Photo courtesy of Huber Marionettes)

Pamela McKuen

My favorite is a theatrical event: the 3^rd Chicago International Puppet Theater Festival. More than 100 performances of 24 shows were given by professional puppeteers from 11 countries at 19 venues. I had the privilege of seeing “Ajijaak on Turtle Island,” the story of a young whopping crane who was accidentally separated from her parents during her first migration. Along the way to unification, she learned valuable life-lessons about herself and living in harmony with nature. Puppets of all sizes and styles, their handlers, musicians and dancers interacted seamlessly to present an engaging and unforgettable experience.

Matt Crowle and Rachel Klippel in Porchlight Music Theatre's "A Gentleman’s Guide to Love & Murder." (Michael Courier photo) — Matt Crowle and Rachel Klippel in Porchlight Music Theatre’s “A Gentleman’s Guide to Love & Murder.” (Michael Courier photo)

Mira Temkin

Comedy Kills in “A Gentleman’s Guide to Love & Murder” at Porchlight Music Theatre” mid January to mid March. This was my favorite show of the year because of the fine acting of Jefferson- Award Winner Matt Crowle who plays multiple roles of both men and women. This hilarious musical comedy tells the story of Monty Navarro, a conniving, down-on-his-luck Englishman who finds out he stands to inherit the earldom of Highhurst and substantial wealth if only he could eliminate his eight pesky relatives who stand in his way. Quickly as you can imagine, things start to go awry. But Navarro must keep on his toes with both his mistress and his fiancée… and not get put in jail. And those darting eyes… hysterical!

Some theater venues around town. (J Jacobs photo

Well, even though the designation of Year of Chicago Theatre is about over, all of us at Chicago Theater and Arts think we’re lucky to have great theater on stages large and small throughout the Chicago area every year.

We know that the theater season doesn’t go by the calendar year at every venue but no matter how the season is divided, we are very much looking forward to seeing and reviewing the best of 2020.

We wish everyone an interesting theater experience in the new year.

Snarky Santaland Diaries Worthy of the Naughty List

Steven Strafford in the one-man-show of The Santaland Diaries at Goodman Theatre. (Cody Nieset photo)

3 stars

I still remember the first time I heard the caustic wit of David Sedaris as he performed his “The Santaland Diaries” monologue on NPR’s “This American Life.” I was gobsmacked. This snarky, irreverent essay quickly became a holiday staple in our house, revered as much as our other annual, if slightly less irreverent, family favorite, “A Christmas Story.”

Still, I had never seen the wickedly funny monologue on stage until this week when I headed to the Goodman’s Owen Theatre to spend an hour with Steven Strafford as the not-always-lovable elf named Crumpet. Continue reading “Snarky Santaland Diaries Worthy of the Naughty List”

Celebrate the Holidays with a ‘White Christmas’

Cast of White Christmas at Theatre at the Center (Michael Brosilow photo)

3 stars

Who doesn’t love a rousing tap number? If you do, then “White Christmas,” the holiday offering from Munster’s Theatre at the Center, is the holiday song-and-dance show for you.

The musical is the stage adaptation of my mom’s favorite Christmas movie starring Bing Crosby, Danny Kaye, Rosemary Clooney, Vera-Ellen and Dean Jagger. Irving Berlin’s White Christmas was turned into a stage show in 2000.

Munster’s version stars Matt Edmonds as Bob, Justin Brill as Phil, Casiena Raether as Judy, Erica Stephan as Betty and Neil Friedman as General Waverly.

It follows the story of Bob and Phil, singers who served under “The Old Man” in World War II before gaining fame and fortune as entertainers. Looking for romance, they follow sisters Judy and Betty to Vermont where the women are slated to perform on Christmas Eve.

When Bob and Phil learn that the inn is owned by the General who is facing financial ruin because there’s no snow, they rally the old troops to save him.

Continue reading “Celebrate the Holidays with a ‘White Christmas’”

The Second City thrives on Chicago craziness

‘Do You Believe in Madness?’

3 stars

The Second City began in Chicago in December of 1959, and will have its 60^th anniversary next month. It was called “The Second City” because a journalist in New York had written a book titled Chicago: The Second City. Back then, Chicago was the second largest city next to New York City.

Now,six decades later, The Second City is still going strong with its 108^th Mainstage Revue “Do You Believe in Madness?” The show is expected to run at least until the famed improv theatre’s 60^th anniversary Dec. 16, 2019.

Directed by Ryan Bernier with musical direction by Nick Gage, the show is written and performed by six fabulous actors: Mary Catherine Curran, Sarah Dell’Amico, Andrew Knox, Asia Martin, Jordan Savusa and Adam Schreck.

Even though the production features several different scenes the format works because the transition is so smooth. One scene takes place in a high school where a teacher tells her most misbehaved students that they are the reason that all of the teachers went on strike.

Another scene deals with many people whose dogs and cats were lost or died, and the owners relate it to deaths of siblings. Then a human family has a bird in the house, and then a bird family has a human in the house – both are unsettling to the families.

(L-R) Sarah Dell’Amico, Andrew Knox, Asia Martin, Jordan Savusa, Mary CatherineCurran, Adam Schreck. (Photo by Timothy M. Schmidt.)

A scene with a dating couple asked each other why they were so normal. They felt that normal must be something wrong! The revue’s title, “Do You Believe in Madness?” seems very appropriate.

Most of these fun scenes include jumping around, dancing, singing, laughter, background music and more. Perhaps in the future, these professional actors and actresses may follow in the footsteps of those from The Second City many decades ago – Bill Murray, Gilda Radner, Dan Aykroyd, Joan Rivers, John Belushi, Tina Fey, and others.

DETAILS: “Do You Believe in Madness?” is at The Second City Mainstage Theater. 1616 N. Wells St., Chicago as an open run. Running time: 2 hours with one intermission. For tickets and other information, call (312) 337-3992 or visit Second City.

Francine Pappadis Friedman

For more shows visit Theatre in Chicago

Open a book and oneself to a new adventure

David Payne as C.S. Lewis at Broadway Playhouse. (Production photos from Aneesa Muhammad (MKI)

4 stars

In the 1960s, C.S. Lewis was a well-known British author whose collected works made him one of the most famous literary writers of the 20^th century. Lewis died over 50 years ago.

David Payne, another Brit was an actor and playwright who hoped he would get a minor role in a previous play about C.S. Lewis. Instead, Payne got the lead role of C.S. Lewis, launching a terrific acting career.

When many audience members saw David Payne playing that lead role, they felt that they had discovered the real C.S. Lewis!

David Payne had read quite a lot of C.S. Lewis’s writing—even Lewis’s personal diary. And Payne was always asked many questions about Lewis. One day, Payne decided it would be fun if he could be Lewis himself and could answer these questions. That’s why Payne wrote, directed, and stars in “An Evening with C.S. Lewis,” a wonderful play which is now being shown at Chicago’s Broadway Playhouse.

In Act I, Payne plays the author sitting in Lewis’s living room and hosting a group of American writers in his home near Oxford. Lewis recalls the many events that affect his life and his large number of close friends, including J.R.R. Tolkien, an English author and poet.

In Act II, Payne playing Lewis says he eventually believes in Christianity. He also tells how he just met a divorced woman by the name of Joy who decides to come from the United States and live in London.

It reminds her so much of New York City where she had lived with her previous husband and family. Although Lewis describes London as “noise and chaos.”

He marries Joy who eventually lives with him in his house. Lewis goes on to say how their relationship turned his life upside down.

DETAILS: “An Evening with C.S. Lewis” is at the Broadway Playhouse at 175 E. Chestnut St., Chicago, through Nov. 3, 2019. Running time: 90 minutes, with one intermission. For tickets and other information, call (800) 775-2000, or visit BroadwayInChicago.

Francine Pappadis Friedman

For more shows visit Theatre in Chicago