Reviews – Page 20 – Chicago Theater and Arts

Xanadu is a relaxing trip to nowhere.

Xanadu an audio play by Theater in the Dark — Xanadu an audio play by Theater in the
Dark

Somewhat Recommended

2 Stars

Skillfully presented, this streaming audio play “A murder in the court of Xanadu” presented by A Theater in the Dark is a jumble of characters and events that in the end I simply did not care about.

I truthfully cannot give you a synopsis of this play. I enjoyed listening to it but ultimately do not understand anyone’s motivation for doing whatever they did and am not sure why it was interesting or important.

It was kind of like listening to a Chinese opera. I do not speak Chinese but I might walk away understanding that someone was rich, someone was a conniving trusted advisor, someone got killed, and in the end, someone got something of value that maybe was surprising and undeserved. But I could not catch the details. In the meantime, it was oddly enjoyable to listen to because the vocal tones and rhythm of the presentation with its evocative incidental music was pleasing.

The place of Xanadu is known to most of us a symbol of utopian excess perhaps best remembered from the Samuel Coleridge poem of the same name. In fact, as a result of a recent Jeopardy question on the popular TV game show, I was able to immediately recall the opening words “In Xanadu did Kubla Khan
A stately pleasure-dome decree,” though I have no recollection of ever reading the entire poem.

We might also be familiar with “Xanadu” as the name of the mansion in the well know movie “Citizen Kane.” In this case I can tell you that Kane was a Khan-like business ruler with a strong desire for beauty and excessive wealth. I know this because I learned as much through the storyline. The story of Citizen Kane challenges us to try to understand the motivation behind the main character’s actions.

In “A murder in the court of Xanadu” we are basically told, though a narrator, who the characters are rather than have them reveal themselves to us. There is no discernible mystery to unravel and no reason to be interested in the fates of a number of greedy self-centered individuals who do not seem to have derived their wealth or status through any particular talent or ability of their own.

The standout performance for me was Erin Lin as Marla who acts as a kind of narrator. Her voice was clear, expressive and well modulated with a kind of musical quality. I would be happy to listen to her read or recite virtually anything.

The theater’s website suggests that the character of Marla is inspired by Marco Polo who incidentally provided the earliest description of the Khan’s pleasure retreat. However, this relationship is totally lost to the uninformed listener, and one or two periodic allusions to Venice in my mind only added to the confusion. I feel strongly that a theatergoer should not have to bring any previous knowledge to the experience in order to understand the action.

Nessa Amherst as Marigold provided nearly all of the much needed auditory contrast, providing a kind of comic quality and strong characterization.

I felt that all of the male actors including Robinson J. Cyprian (Kane), Van Ferro (An Actor Who Plays Many Parts), and Gabriel Fries (Ahmad) understood what they were saying (even if I did not), delivering their lines with conviction. I would have enjoyed more vocal variety between the three of them and a little more resonance from Cyprian who I remember gave us more vocal depth in his performance of Ahab in the company’s performance of “Moby Dick.”

If there is any fault to be assigned it belongs to the author Cory Bradberry who has demonstrated through his previous works a real ability and commitment to this genre. That said, this is not a disaster but rather a miss. Perhaps with a bit more work and revision he can overcome whatever it is that is lacking.

Bradberry does partially cover his tracks through his exceptional direction. The performance does have an overall lyrical quality and pleasing tone that is enhanced through just enough foley work to provide some needed ambiance with a very enjoyable use of an original musical score by Paul Sottnik.

DETAILS: “A murder in the court of Xanadu” presented by A Theater in the Dark is available for streaming beginning November 3, 2022 at www.atheaterinthedark.com Runtime is about 90 minutes.

Reno Lovison

For more shows visit Theatre in Chicago

One last boo or corn maze and Halloween photo op

Halloween at Didier Farm. (J Jacobs photo)

It’s hard to believe that October’s 31 days are about over this weekend. But if you still need another pumpkin to carve, yummy kettle corn or cider donut to eat, funny photo cutout or Halloween stuff and costumes, then head to Didier Farms on Aptakisic Road in Chicago’s northwestern suburb of Lincolnshire.

Every year, the farmstand, started over a century ago in 1912, gets larger for Halloween with more playground space, more rides, more farm animals and more holiday stuff.

Along with the all the fun Halloween yard signs and decorations inside Didier’s large barn, there is another barn with baby chicks, educational farm info and an old tractor.

Go further on the property to visit more animals, find the corn maze a pumpkin patch, a children’s playground and a carnival-style ride.

But as quick as a broomstick can fly away, it all ends Oct. 30. For more information visit Didier Farms.

Jodie Jacobs

An Open House Chicago walking tour to try

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Glunz on Open House chicago tour (reno Lovison photo)

Open House Chicago is a great way to see some of the city’s landmarks and neighborhoods. The following Old Town / Gold Coast Open House Tour was taken by videographer/podcast editor Reno Lovison during Oct. 15-16 but it is specific enough to copy down and take anytime. )

You don’t need to be an architectural expert to simply look around and enjoy the various styles, building materials and artistic elements that combine to make up Chicago’s diverse urban landscape.

A perfect place to start observing is the Old Town / Gold Coast area where you can find an abundance of 19th century buildings, dating to the city’s early post Great Fire roots, side-by-side with modern, post-modern, late modern and millennium modern building examples.

Here in the heart of the city, you will easily find single family homes and multi-family structures ranging from two story brick and wood structures to over twenty story high glass and steel high-rises, as well as assorted commercial structures built for specific purposes as well as many that have been redeveloped to meet the changing needs of the city’s current inhabitants.

Open House Chicago takes place every year in October featuring more than 150 locations in over twenty neighborhoods across Chicago and suburbs. During the weekend event, visitors are treated to special access and information provided by onsite experts, however there is no reason that you cannot tour these locations yourself at any time during the year.

The choices I made were made from a list that was part of the 2022 Open House Chicago Program. I also included a few stops that I knew of that I spotted along the way. As a result my tour is not intended as a comprehensive look at the area but simply an opportunity to take note of some interesting gems that are lurking just under our noses on a daily basis.

At roughly three miles total I began my self-guided walking tour in Old Town at the corner of Wells and Evergreen in front of the former Dr. Scholl’s factory aka Cobbler’s Square. There is a plaque on the south-east corner that provides a brief history of the original building. Walking south to Division Street you will find the House of Glunz Wine and Spirits, operated by the Glunz family for over 100 years, and one of the few remaining, largely untouched, late 19th century commercial storefronts in the area.

An old building on Rush Street the Old Town-Gold Coast Chicago tour. (Photo by Reno Lovison)

Continuing south a few blocks you you will see the millennium era Walter Payton College Prep with its almost 80-foot-high glass and steel atrium joining two brick structures on either side. Compare that with the Ruben Salazar Bilingual Center directly across the street. This elementary school building was originally built in 1882 and provides an opportunity to compare the two structures while considering similarities and changes in attitudes regarding education over a one hundred year span.

I made my way east to the Palette and Chisel Academy of Fine Arts at the corner of Dearborn and Oak Streets. Jammed with interesting architectural features inside and out this former single-family residence was built circa 1870 and was converted to a boarding house before transforming to an artist’s work space and gallery in 1921.

From here I meandered over to Rush Street taking time to regard the remaining architectural shadows of the street’s not too distant past.

Moving north, Rush Street changes its name to State Parkway entering into the heart of the Gold Coast. A quick dip inside the Ambassador Hotel provided a chance to catch the cool mid-century vibe of the former Pump Room, a famed night spot that entertained celebrities and legends though the nineteen forties, fifties and sixties.

While you’re still in the swinging mood, continue north to find the former Playboy Mansion on the west side of the next block before making your way a few blocks further to the Cardinal’s Residence at North Avenue opposite Lincoln Park. On your way you can speculate about the amount of wealth created caterinig to the needs of individuals both sacred and profane.

Standing in the park opposite the Cardinal’s residence you can take in the expansive front lawn of this impressive piece of property. To the west near the corner, there is a plaque on the edge of the park at Dearborn and North that explains a bit about this location’s history as a former cemetery.

You never know what interesting building or sculpture lies around the corner in the Old town/Gold coast area of Chicago (Photo by reno Lovison)

Looking to the north is an impressive statue of Abraham Lincoln, to the west of which is the Chicago History Museum with its glass and steel façade and across Clark Street the most interesting shape of the Moody Bible Institute Tabernacle.

Turning back south at North and Clark take a moment to enjoy the historic Germania Club building at Germania Place which currently houses the Lighthouse Immersive Artspace.

Ending my travels was a stroll through Carl Sandburg Village a virtual city within the city. The collection of high-rise and low-rise multi-unit residences are interspersed with single-family townhouses offering a variety of living spaces to accommodate a diversity of middle-income residential needs. Built in the 1960s, Sandburg was intended to be a kind of social buffer separating what was then the lower income Old Town neighborhood from the more affluent Gold Coast. Today it stands as an important example of mid-century urban planning.

Consider following my tour on foot or by bike or make a tour of your own taking time to look around and enjoy the visual spectacle that is Chicago.

Reno Lovison

Reno Lovison has also recorded this as a podcast walking tour at ChicagoBroadcastingNetwork.com

Something is amiss in Camelot

Christine Mayland Perkins (Guenevere)) and cast in Music Theater Works' "Camelot" (Photo courtesy of Music Theater Works) — Christine Mayland Perkins (Guenevere)) and cast in Music Theater Works’ “Camelot” (Photo courtesy of Music Theater Works)

Recommended

The good part of “Camelot” now playing at the North Shore Center for the Performing Arts in Skokie, is the beautiful voice of Christine Mayland Perkins as Guenevere and such wonderful Lerner and Loewe songs as “Camelot,” “How to Handle a Woman,” “If Ever I Would Leave You” “What Do the Simple Folk Do? and “I loved You Once in Silence.”

The problem this writer has with the show is that even though it is put on by Music Theater Works it has nothing like the scope and theatrical impact that the company’s productions had at Kahn Auditorium in Evanston which included a memorable “Mame” and “Pirates.”

The current slim-down, post pandemic offering is held in the Performing Arts’ smallish North Theatre which works well for Northlight’s plays, but is likely to disappoint Music Theater Works longtime subscribers.

Ann Davis’ set worked well for the stage and small cast of nine but the production felt more like good community theater than the excellent full-scale musicals and operettas that gave Music Theater Works its reputation.

However, current audiences might look beyond scale and appreciated director Brianna Borger’s focus on ideals clashing with desires.

DETAILS: “Camelot” presented by Music Theater Works, runs now through Nov. 13, 2022 at the North Shore Center for the Performing Arts, 9501 Skokie Blvd., Skokie, IL. Running time: 2 hours with one intermission. For tickets visit Musicaltgheaterworks/camelot or call (847) 673-6300.

Jodie Jacobs

For more shows visit www.theatreinchicago.com

Extraordinary Brightness

Brightness of Light at Los Angeles June . 18, 2022 (Photo Credit: Lawrence K. Ho) — Brightness of Light at Los Angeles Opera June . 18, 2022
(Photo Credit: Lawrence K. Ho)

4 Stars

Lyric Opera goers may not have known what to expect when taking their seats Oct. 8, 2022, for “The Brightness of Light,” a hybrid one-act opera-song cycle by composer Kevin Puts. But it featured popular lyric soprano Renée Fleming and versatile baritone Rod Gilfry, so the house was filled.

It was an extraordinary experience.

For scenery, the program used the gorgeous artwork of Georgia O’Keeffe, the sensuous photography of Alfred Stieglitz and the dramatic letters they wrote to each other compiled in a projection format designed by Wendall Harrigton.

Puts turned to those letters for his libretto. However, it took the still remarkable Fleming voice and artistry and well-matched baritone of Gilfry to pull off Puts’ intense, challenging music.

“The Brightness of Light,” with Fleming and Gilfry was the Chicago premiere. It is worth seeing and hearing again. Unfortunately, this was a one-time program that has been travelling for a few years. It ended the LA Opera season in June.

Some members of the audience left at intermission to catch trains. Those who stayed were entertained by a charming selection of nine Broadway songs ranging from “Almost Like being in Love” (Brigadoon) to “People Will Say We’re in Love” (Oklahoma).

The entire program featured the Lyric Opera Orchestra conducted by Lyric Music Director Enrique Mazzola which is always a treat.

As to how this all started, Puts explained the following in a note:

“In 2015, I received the honor of a commission from my alma mater, the Eastman School of Music in Rochester, New York. The school’s orchestra was planning a trip to perform at Lincoln Center and wanted to include a new work written by an alumni composer to feature an alumni performer. The performer they had in mind was Renée Fleming and—to my great excitement—she accepted the offer, thereby initiating one of the most treasured collaborations of my career.

We wanted to focus on an iconic American woman as the subject, and I happened on a quote by Georgia O’Keeffe: “My first memory is of the brightness of light, light all around.”

For more information visit The Brightness of Light | Lyric Opera of Chicago

For more shows visit Theatre in Chicago

Jodie Jacobs

Where to get into the Halloween spirit

Pumpkins and scarecrows have taken over Highwood. (J Jacobs photo)

Great Highwood Pumpkin Festival

Go to downtown Highwood, a tiny, just over a square mile North Shore city known for its restaurants, to see skeletons dressed for the season, carve pumpkins, take carnival rides and find more pumpkins than you can count.

They’re all a part of the Great Highwood Pumpkin Festival, this weekend.

The Fest already began on Thursday but events continue all weekend including pumpkin carving at 11 a.m. Saturday and Sunday at three pumpkin carving stations.

Ghostly figures climb a distillery wall of glass downtown Highwood on Sheridan Road during the Great Highwood Pumpkin festival. (J Jacobs photo)

Anyone can carve three pumpkins to help the festival’s goals to outdo past years’ total pumpkins carved. They are in Everts Park west of the Metra tracks, at City Hall Park on the east side of the track, and at Painters Park at 424 Sheridan Road across from Buffo’s where visitors can find Interactive Skeleton Displays that re-enact dance scenes from movies and pop culture.

There’s also a carnival, three stages of music, hayrides, food vendors and Sunday costume and pie-eating contests. Signups are still available for the Pet Costume noon contest, the Kids Costume Contest at 1 p.m. and the Pumpkin Pie Eating contest at 2 p.m.

Lots of Howling photo spots to take photos at Boo at Brookfield Zoo. (Photo courtesy of Chicago Zoological society. — Lots of Howling photo spots to take photos at Boo at Brookfield Zoo. (Photo courtesy of Chicago Zoological Society.

Boo!

Brookfield Zoo’s famed Boo at the Zoo festival starts Saturday and Sunday Oct. 8-9 and continues weekends in October through Oct. 22-23, 2022. What to do: Take selfies at the zoo’s funny photo spots such as a Howl-O-Scenes at the Nature Stage or the photo frames and peek boards.

Also, find the “Crazed Maize” on the West Mall open from 11 a.m. to 4 p.m.. But don’t get lost because there are Zoo chats at the Hamill Family Play Zoo at 11 a.m. and 1 p.m. and at the Australia House at 3:30 p.m.. Plus, there are pumpkins for animals feeding times and a “Creepy Carousel” to take.
Get a sweet treat upon exiting from 11:00 a.m. to 4 p.m.

No costume contests this year but youngsters age 13 and younger are encouraged to wear their Halloween costume.

For more zoo information, visit CZS.org/Boo or call (708) 688-8000.

Jodie Jacobs

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

‘Fiddler’ goes grand at the Lyric Opera House

L Tevye (Steven Skybell,and young violinist (Drake Wunderlich) in “Fiddler on the Roof.” 9 Photo by Todd Rosenberg Photography) — L Tevye (Steven Skybell and young violinist (Drake Wunderlich) in “Fiddler on the Roof.” (Photo by Todd Rosenberg Photography)

3 stars (Recommended)

That the US premiere of Komische Oper Berlin’s “Fiddler on the Roof” that opened in 2017, is on stage at Lyric Opera of Chicago now through early October.

It does more than merely fit this productions’ large-scale scenery and cast. Judging by comments heard during intermission, audience members who had not attended an opera here were dazzled by the size and make-up of the hall and building. Maybe, they will return for an opera.

Lyric’s production, directed by Barrie Kosky, definitely takes advantage of an operatic stage with its large chorus of villagers, remarkable dancers, its many main cast members and enough other actors to fill the shtetl of Anatevka in the Pale of Settlement in Imperial Russia.

Of course, when talking as writer Sholem Aleichem (the pen name of Solomon Naumovich Rabinovich) did in stories about the challenges dairyman Tevye had with his many daughters and life in a Russian village (Tevye and his Daughters) what became ‘Fiddler on the Roof” could seem operatic in nature.

The voices of the main characters and chorus and the dances choreographed by Silvarno Marraffa, particularly the spectacular “Bottle Dance,” are worth the visit to the Lyric for the show.

“Fiddler on the Roof” at the Lyric Opera House. (Photo by Todd Rosenberg)

What bothered me was that by going grand, the production, at least for me, lost the small-scale, intimate, Dickens-like peeking in the window that gave “Fiddler” the folk-tale, dream sense Jewish Russian artist Marc Chagall pictured in his works about Jewish life and his painting of the “Green Violinist” used on the program’s cover.

But what brings “Fiddler” to life now is how it ends with the Jewish villagers forced to leave back in 1905. Consider how many of the residents of the region which later became part of Ukraine, are sadly part of a war-driven exodus in 2022.

What was meaningful to me and beautifully brought out in the musical’s book by Joseph Stein, music by Jetty Bock and lyrics by Sheldon Harnick was the underlying theme of tradition vs change. You hear it and think about it the song “Tradition” and “Sunrise Sunset” and in Tevye’s musings with G…d.

Note: I should explain that “Fiddler” is personal. My father’s family of several sons and daughters left that region for the United States. His father whom we called Zaidi, was a tailor and they were Orthodox Jews. My father talked about how horrible the Russian Cossacks were to the villagers.

Adam Kaplan and Austen Bohmer. (Photo by Todd Rosenberg.)

The “Fiddler” family in the Lyric production are Steven Skybell who is a perfect Tevye, Debbie Gravitte who is excellent as his wife, Golde, and oldest daughters Maya Jacobson as Chava, Lauren Marcus as Tzeitel, Austen Bohmer as Hodel and younger daughters, Omi Lichtenstein as Bielke and Liliana Renteria as Shprintzel. It’s the older daughters who are changing the family’s traditions.

As to their chosen mates which definitely went against tradtion, they are Drew Redington as Mote), Adam Kaplan as Perchik and Michael Nigro as Fyedka.

Mention should also be made of Yente, the Matchmaker, nicely portrayed by Joy Hermalyn and the Fiddler, Drake Wunderflich, a fifth-grader who is a member of the Chicago Youth Symphony Orchestra. He starts out with a scooter he trades in the opening scene for a fiddle and is on the roof in most scenes, then appears again at the end.

“Fiddler on the Roof” is at the Lyric Opera House, 20 N. Wacker, now through Oct. 7, 2022. Running time: 3 hours, 15 min. with one intermission. For tickets and more information visit lyricopera.org or call (312) 827-5600.

Jodie Jacobs

For more shows visit Theatre in Chicago

Horror musical about greed and power

Trio of Skid Row girls above watch the action with Little Shop of Horrors ledes (Photo courtesy Citadel Theatre and North Shore Camera Club)

Recommended

October, when you are asked to believe in the supernatural, is the perfect month to see Little Shop of Horrors at Citadel Theatre.

Director Matthew Silar, production manager Ellen Phelps and scenic designer Eric Luchen have magically figured out how to innovatively cram scenery that includes a skid row tenement stairway, a flower shop, dentist’s office and a growing-by-the-minute voracious plant with evil intentions into Citadel’s miniscule space.

Balancing the evil of the plant are the fun combo of rock and roll /doo-wop dances and songs by a trio of young skid row residents: Chiffon (Ania Martin) Crystal (Isis Elizabeth) and Ronnette (Sabrina Edwards).

The trio also move the scenery, changing an outside wall into the shop and other places as needed.

Ledes are Sam Shankman who wears well the persona of the nebbish shop employee/plant cultivator Seymour and his love interest, fellow shop employee Audrey, nicely portrayed by Dani Pike.

Unseen stars are puppet designer Matt McGee, puppeteer of the plant, Michael Dias, and Audrey II’s voice, Aaron Reese Boseman. Seymour named his plant Audrey II in honor of the girl he works with and really likes.

Secondary characters and the people the audience figure out early on will become Audrey II’s plant food, are shop owner Mr. Mushnik (Alan Ball) and Orin Serivello, D.D.C (Philip C. Matthews).

A horror musical-comedy with music by Alan Menken and lyrics and book by Howard Ashman, the story is based originally on a 1960 film noir titled “The Little Shop of Horrors.” It was later remade into a 1986 film directed by Frank Oz.

I did see a young child in the audience but wouldn’t suggest the show for children below preteens or maybe middle schoolers who really like haunted houses.

Since nothing tried seemed to destroy Audrey II, the show is less allegorical than a statement or warning about greed and power. The characters who are originally OK with the plant’s choices in Act I have second thoughts about the plant in Act II.

DETAILS: “The Little Shop of Horrors” is at Citadel Theatre, 300 Waukegan Rd, Lake Forest, IL. now through Oct. 16, 2022. Running time: 2 hours with one intermission. For tickets and more information visit Citadel Theatre or call (847) 735-8554.

Jodie Jacobs

For more shows visit Theatre in Chicago

‘Hello Dolly’ still very funny and heartfelt

Heidi Kettenring as Dolly at Marriott Theatre. Photos courtesy of Liz Loren) — Heidi Kettenring as Dolly at Marriott Theatre. (Photos courtesy of Liz Loren)

4 Stars

Of course, you will be leaving the Marriott Theatre production of Hello Dolly singing its famed theme song but what you are likely to be talking about is the shows fabulous choreography and fine acting.

What audience members who already had tickets for Sept. 15 might not know is that after previews, that date was the show’s new opening night. It came two weeks after the original opening Aug. 31 was canceled due to Covid among some cast members.

Possibly they might have noticed that the production didn’t include a staircase that Dolly Levi typically comes down for a grand entrance into her favorite café, Harmonia Gardens. A note with the program said there was a hydraulic problem.

The delay and staircase absence just didn’t matter. The production and performances received a well-deserved standing ovation.

Superbly directed and choreographed by Denis Jones, this old crowd-pleaser, a musical based on Thornton Wilder’s The Matchmaker. is filled with wonderfully comic and heartfelt moments.

Left Alex Goodrich as Cornelius Hackl and right Spencer Davis Milford as Barnaby Tucker. in Hello Dolly at Marriott Theatre

There is the delightful Act One scene in widow Irene Molloy’s (Rebecca Hurd) hat shop where Cornelius Hackl (Alex Goodrich) and Barnaby Tucker (Spencer Davis Milford), two young Yonkers lads in New York for a night on the town, try to hide from their employer, widower Horace Vandergelder (David C. Girolmo). He left Yonkers to meet a prospective wife with help from matchmaker Dolly Levi (Heidi Kettenring).

And, there is the hysterical moment played to the hilt by Kettenring near the end of Act II when she prolongs a hearing of before a judge that involves the show’s main characters. As everyone waits and waits, Dolly thoroughly enjoys a dinner she had started back at Harmonia Gardens and brought to the courtroom.

As to heartfelt, there is Hurd beautifully singing “Ribbons Down My Back” as she puts on one of her hat creations for her sudden date with Hackl.

There is also Kettenring bringing audience members close to tears with her rendition of “Before the Parade Passes By.”

And speaking of parades, there is a wonderful scene of New York’s 14th Street Association Parade that includes people marching with placards and banners for women’s rights. Although set in the late 1800s, the show proves it is still relevant.

Originally directed and choreographed by Gower Champion you can expect several strong dance scenes. Marriott’s Hello Dolly delivers with Jones’ brilliant interpretations of the sentiments expressed in this Tony Award-Winning Musical with its book by Michael Stewart and music by Jerry Herman.

Shoutouts also have to go to the Marriott Orchestra conducted by Brad Haak, to Music Director Ryan Nelson, Costume Designer Theresa Ham and to Co-Scenic Designers Jeffrey D. Kmiec and Milo Bue. They nailed the musical’s rhythms and time period.

Even though Hello Dolly opened on Broadway in 1964, matchmaking hopes are still alive today with online dating and the desire to participate in life “before the parade passes by,” is still a strong motivator.

DETAILS: Hello Dolly is at Marriott Theatre, 10 Marriott Dr., Lincolnshire, now through Oct. 16, 2022. Running time: about 2 ½ hours with one intermission. For tickets and more information visit Marriott Theatre.

Jodie Jacobs

For more shows visit Theatre in Chicago