Reviews – Page 51 – Chicago Theater and Arts

Phantom moves to Coney Island

Andrew Lloyd Webber's 'Love Never Dies' — Andrew Lloyd Webber’s ‘Love Never Dies’

RECOMMENDED

After several attempts at mounting a sequel to his record breaking ‘Phantom of the Opera,’ Andrew Lloyd Webber has likely come up with a winner. Called ‘Love Never Dies’ it is touring the US with a stop in Chicago now through March 4, 2018.

It has the eerie trepidations, behind the scenes staircases and gorgeous staging of ‘Phantom’ but appropriately moved to Phantasma, an over-the-top Coney Island show populated by freaks, dancers and singers. It also still has Madame Giry, her daughter, Meg, Christine Daaé and Raoul.

Only this time, 10 years after the opera house fire, Christine and Raoul’s marriage is in trouble and they are accompanied by Gustave, a 10-year-old son. It’s no spoil alert to note who Gustave’s father is because that is quite clear by the end of Act I.

However, there is a fear of what’s to come when Madame Giry is infuriated by the Phantom’s lack of acknowledging that he owes his present lifestyle to her and Meg.

Without letting on what happens, just know that the sequel has an interesting but not a particularly happy-ever-after ending.

What makes this touring production stand out is the soaring, operatic voice of Meghan Picerno as Christine, the amazing vocalizations of Chicago native Casey Lyons as Gustave, and the dazzling set and costume designs of Gabriella Tylesova.

Director Simon Phillips and choreographer Graeme Murphy AO, move the musical scarily along its romantic but dangerous “Love Never Dies” theme.

The lyrics are by Glenn Slater with additional lyrics by Charles Hart. Ben Elton did the book and David Cullen with Webber did the orchestration.

DETAILS: ‘Love Never Dies’ is at the Cadillac Palace Theatre, 151 W. Randolph St., Chicago. Running time: 2 hours, 25 minutes with one intermission. For tickets and more information visit Broadway in Chicago

Jodie Jacobs

For more shows visit TheatreinChicago

The misbegotten are still needy at Writers Theatre

SOMEWHAT RECOMMENDED

Theater goers who have read or have seen Eugene O’Neill’s ‘Long Day’s Journey into Night’ and its sequel, ‘A Moon for the Misbegotten,’ and so are familiar with the character of James Tyrone Jr. (based on O’Neill’s alcoholic brother Jamie), might wonder why Writers Theatre is going for laughs in the first part of ‘Moon’ instead of building on its premise of needy people.

Jim De Vita (James) l, A.C. Smith (Phil) and Bethany Thomas (Josie) in 'A Moon for the Misbegotten' at Writers Theatre. Photo by Michael Brosilow. — Jim De Vita (James), A.C. Smith (Phil) and Bethany Thomas (Josie) in ‘A Moon for the Misbegotten’ at Writers Theatre. Photo by Michael Brosilow.

There is a playful mood in the first act instead of one that emphasizes the problems faced by O’Neill’s characters, tenant farmers, dad Phil Hogan (A.C. Smith) and daughter Josie (Bethany Thomas), and their landlord, James Tyrone (Jim De Vita).

Instead of the Irish family that O’Neill wrote about, director William Brown has transferred the Hogan’s woes into that experienced by a black family. That change doesn’t matter as to the story line’s legitimacy. The roles are played by consummate actors. Watching them is usually a pleasure but perhaps in a different context.

More tension needs to build to the third act which is the exceedingly important culmination of really looking at themselves, stripping off their persona covers and finding the love that they desperately seek is with each other.

Josie who thinks she’s not attractive has been trading promiscuity for real love. James who has been drowning his grief for his late mother with alcohol, needs mothering and thinks he finds it with Josie.

Thus the scene should be more emotionally draining. Their lives may have been “misbegotten”so far, but now they have the moon to help them.

An underlying plot is to stop James from selling their farm to Harder, a wealthy neighbor who doesn’t like the Hogan’s pigs to break through his fence and get into his ice pond. Drink and seduction enter into that plot but become unnecessary when James admits he was just kidding about selling. Thus Josie and James are really free to find each other and themselves.

The production’s setting is still O’Neill’s Connecticut farm in 1923 but neither the time period nor the state make a difference to the playwright’s theme of finding inner truth and love. Without continual focus and buildup, the play’s nearly three hours is difficult to sit through which is a shame because Josie’s and James emotional revelations are at the classic’s core.

DETAILS: ‘A Moon for the Misbegotten’ is at Writers’ Theatre, 325 Tudor Court, Glencoe, through March 18, 2018. Running time is about 3 hours 50 minutes. For tickets and other information visit Writers Theatre.

Jodie Jacobs

For more shows visit TheatreinChicago

A Cautionary Tale

RECOMMENDED

This play may not be for everyone, but for those who enjoy intellectual stimulation and are willing to sit back and contemplate some of the harsh realities and complexities of the human experience, this is a performance you will not soon forget.

Just the title, ‘Fear and Misery in the Third Reich,’ a grim tale by Bertolt Brecht and translated by Eric Bentley, is enough to discourage a sizeable percentage of theater goers looking for the next feel good musical but this is theater at its best, relevant and thought provoking.

Simon Hedger, l, and Joe Bianco in Haven Theatre's production of 'Fear and Misery in the Third Reich. Photos by Emily Schwartz. — Simon Hedger, l, and Joe Bianco in Haven Theatre’s production of ‘Fear and Misery in the Third Reich. Photos by Emily Schwartz.

Brecht is one of the leading playwrights of the twentieth century who courageously stood up for injustice and openly shed a light on the social and political changes that were transforming his life and the lives of people around him.

Let’s address the “elephant in the room.” It’s a Haven Theatre production that is a two-hour, forty- minute commitment (with ten minute intermission). Before it began I wondered, “Why did they not consider trimming this down a bit?”

Then it occurred to me that it would be like taking a few movements out of a Beethoven symphony. It is as long as it needs to be.

The production is a series of well orchestrated vignettes that explore the impact of Nazism on German society. Each carefully crafted segment represents a different aspect of the social strata and/or one of the essential institutions that comprise our sense of community.

These include the institutions of friendship, love, marriage and family as well as public institutions of mercantile, manufacturing, and government. All of which require “trust” and “honesty” to function properly.

It is important to remain cognizant of the fact that this play was first performed in 1938, a full two years before the U.S. officially entered the war in Europe. The author was describing the events of the day without benefit of hindsight. He was saying, “Wake up people and look at what is happening around you.”

To some, the themes will resonate with the politics of today. That is not to say that life in the U.S. in 2018 is anything like Nazi Germany in 1938 but it may be a cautionary tale of what can happen when the seeds of mistrust are sewn and paranoia blooms.

Alys Dickerson and Siddhartha Rajan with Amanda De La Guardia (back) in 'Fear and Misery in the Third Reich. — Alys Dickerson (center) and Siddhartha Rajan with Amanda De La Guardia (back l.) in ‘Fear and Misery in the Third Reich.’

Brecht was writing in an era before television and the Internet, where newspapers, theater and radio were the communication technology of the day. Even talking pictures were a relatively new phenomenon. The point being that words and the subtlety of language was paramount.

A genius of dialogue, in this play Brecht has a way of writing conversations that sound like a person’s inner thoughts or self-talk being spoken aloud. The result for the audience is a sense that these are your own thoughts. It puts you into the brain of the character and creates a strong feeling of intimacy.

Psychodrama is a therapeutic tool developed around this period intended to help people struggling with inner conflicts to confront their most intimate thoughts by acting them out. No doubt Brecht was inspired by this technique but used it in a most public way.

Director Josh Sobel has done a good job with this group of young actors. The competent Haven Theatre ensemble made their way through this marathon production at a good pace with a few outstanding individual performances.

This is the kind of play that brought about method acting. It requires the actor to “dig deep” and expose his or her own emotions. I am not certain that every cast member has gotten to that level at every moment but this will be a process that will certainly develop over the run and will no doubt have inconsistencies from day to day, but that is the beauty of live theater.

The austere set design by Yu Shibagaki may shock you as you enter the performance space, but it is thought provoking and lends itself well to the production. The lighting (Claire Chrzan) and sound design (Sarah D. Espinoza) as well as the movement direction of dramaturge Abhi Shrestha adds thoughtful artistic depth.

A personal note. I had the good fortune to witness history as an eleven year old actor (Crown Prince Medici) in the Goodman School Theatre production “Life of Galileo” starring blacklisted stage legend Morris Carnovsky, directed by blacklisted actor Howard Di Silva in a play written by a blacklisted playwright Berthold Brecht. Though Brecht wrote this play about the censored astronomer in reaction to the Nazi experience it unfortunately found new relevance in the McCarthy Era illustrating the importance to remain ever vigilant to potential fascism.

DETAILS: ‘Fear and Misery in the Third Reich,’ a Haven Theatre production, runs now through March 11, 2018 at The Den Theatre 1331, N. Milwaukee Ave., Chicago. Running time 2 hours, 40 minutes with one intermission. For tickets and other information visit

Reno Lovison

For more shows, visit TheatreinChicago

Excellent cast and relevant story make Marriott production a must see

HIGHLY RECOMMENDED

Audiences can enjoy the musical ‘Ragtime’ with its book by Terrence McNally, lyrics by Lynn Ahrens and music by Stephen Flaherty without knowing where its theme and main rhythm were born. The tales are compelling as are the show’s superb voices.

But knowledge of the times portrayed from the early 1900s to 1917, a time rife with prejudice and important movements for women’s rights and better labor conditions, is helpful to appreciating the messages of the musical’s origin, novelist E.L. Doctorow’s famed 1975 novel, Ragtime.

It is appropriately named after the syncopated “rags” music popular with African Americans in the 1890s up to the First World War.

Cast of 'Ragtime' at Marriott Theatre. Liz Lauren photo — Cast of ‘Ragtime’ at Marriott Theatre. Liz Lauren photo

When translated into the musical, first appearing in Toronto in 1996 and opened on Broadway in 1998, the prominent background and piece tinkled on the keys by Doctorow’s character, Harlem musician Coalhouse Walker, Jr., was “Maple Leaf Rag.”

Written by African American composer Scott Joplin, the piece became the “face” of a sound arguably first written by another African American composer, Ernest Hogan, who called his pieces “rags.”

Doctorow’s novel, and later a film and the musical, follows the fictional fortunes of a wealthy white suburban New York family, an African American couple and a Jewish immigrant and his daughter. They served as a way to zoom in on prejudices against Negros, the term used at the time, and bigotry towards immigrants.

The tales are intermingled with actual historical figures such as Harry Houdini, Henry Ford, Booker T. Washington, J.P. Morgan, Emma Goldman, Evelyn Nesbit, Standford White, Harry Kendall Thaw and Admiral Peary.

You know the period is the early 1900s by the terrific costumes designed by Sarah Laux and by the story’s historical figures. However, similar to the many Shakespearean plays now set in other years, ‘Ragtime’ could be moved to now, more than a century later, and still have a similar impact.

The joy of seeing the Marriott show is listening to Kathy Voytko as Mother, the wealthy, caring mom in New Rochelle, and Katherine Thomas as Sarah, Coalhouse Walker, Jr.’s abandoned lover whom he wants to reclaim.

It is also the excellent acting of Nathaniel Stampley as Coalhouse and Benjamin Magnuson as Tateh, a Jewish artist immigrant.

Indeed, directed by Nick Bowling, the entire cast, a large one at 29 players, is excellent.

However special kudos go to Patrick Scott McDermott as Mother’s The Little Boy who has a fairly large role innocently reflecting the thoughts and terms he hear, and Paula Hlava as Tateh’s daughter, The Little Girl who heightens the plight of immigrant’s conditions.

The only problem I had with the production was that at 2 hours, 40 minutes, it became too long to appreciate all the fine singing and dancing.

DETAILS: ‘Ragtime- the Musical” is at Marriott Theatre , 10 Marriott Drive, Lincolnshire, now through March 18, 2018. Running time 2 hours, 40 minutes with one 15 minute intermission. For tickets and other information call (847) 634-0200 and visit Marriott Theatre.

Note: Ragtime contains strong language and content relating to race. It is recommended for ages 13 and older.

Jodie Jacobs

For more shows, visit TheatreinChicago

Family secrets and problems on Thanksgiving dinner menu

RECOMMENDED

You are not likely to walk away unaffected If you join playwright Stephen Karam’s Blake family dinner table in ‘The Humans.’

As you sit through 95 minutes of its members’ litany of problems you may wish you were somewhere else. Or you may care so much about the family you may wish for a sequel to this beautifully acted play so you see if they can surmount their issues.

Richard Thomas, Therese Plaehn, Pamela Reed, Lauren Klein, Daisy Eagan, Luis Vega. in 'The Humans' at Cadillac Palace Theatre. Photo by_Julieta Cervantes. — Richard Thomas, Therese Plaehn, Pamela Reed, Lauren Klein, Daisy Eagan, Luis Vega. in ‘The Humans’ at Cadillac Palace Theatre. Photo by Julieta Cervantes.

At times funny, at times heartbreaking, the play has Scranton, PA dad Erik Blake (Richard Thomas) and wife Dierdre (Pamela Reed), accompanied by their wheelchair-bound, dementia-disabled mom, Fiona “Momo” Blake (Lauren Klein), visiting their New York City daughters for Thanksgiving dinner.

The action takes place in Brigid Blake’s (Daisy Eagan) rundown Chinatown duplex she shares with boyfriend, Richard Saad (Luis Vega). Their other daughter, Aimee Blake, a New York attorney, joins the family dinner.

First, don’t expect a family that is dysfunctional in their relationships with each other. Karam injects the play with a familial feeling of warmth and love that overshadows typical parental comments about marriage, apartment conditions and careers.

The problems revealed during the play are individual matters of illness, love and career disappointments, and finally, an uncertain chilling feeling that follows Erik’s admission of wrong doing and future poverty. The admission explains his somewhat distracted air during most of the play.

The acting is so exceptional that you really care about these people.

You unhappily listen in on Aimee’s difficult phone conversation with her former lover and that unhappiness grows as she tries to explain to her family that she is about to lose her job because of prolonged illness.

It’s disturbing and believable to hear how Momo’s dementia is difficult for the Blakes to handle financially and emotionally. It’s also understandable though dismaying that Brigid, a former music composition major, can’t find appropriately related work so has taken on two bar-tending jobs to try to pay her student loans.

You learn that long-time office manager Dierdre works hard for very little pay and, eventually, you find out that her husband, Erik, is losing his job at a private school.

Richard has his problems too. Serious bouts with depression had led him to drop out of school so that at age 38 he is still working to complete his social worker degree.

Indeed, the entire picture that Karam paints is one of societal ills and poverty balanced by such traditional trappings of, in this case, Irish songs and religion.

Joe Mantello (‘Wicked’) directs the show with such empathy that you hate what’s happening to these characters.

A problem I have with “Humans’ is that though the issues are real today, I felt that assigning them to each character in a single play felt a bit contrived.

DETAILS: ‘The Humans’ is at the Cadillac Palace Theatre, 151 W Randolph St, Chicago, now through Feb. 11, 2018. Running time is 95 minutes with no intermission. For tickets and other information call (800) 775-2000 or visit Broadway In Chicago.

Jodie Jacobs

For more shows, visit TheatreinChicago

Reagan and Gorbachev meet in a play appropriate for our times

HIGHLY RECOMMENDED

It will likely be hard for audiences of ‘Blind Date,’ now at Goodman Theatre, to not think about how current US President Donald Trump is dealing with Russia.

It is also interesting how the matter of spreading Soviet influence enters the conversation as the protagonists in the play, President Ronald Reagan and his USSR counterpart, Mikhaile Gorbachev who held the title USSR General Secretary of the Communist Party and also Chairman of the Presidium of the Supreme Soviet, meet to discuss nuclear armament colored by Soviet Union attempts to indoctrinate third world countries.

The play, written by Rogelio Martinez, also refers to how a nuclear war could be started by the accidental press of a button. Hmm. Hawaii’s mistake hadn’t even happened when this was written.

Rob Riley (Ronald Reagan) and William Dick (Mikhail Gorbachev) in 'Blind Date' by Rogelio Martinez, directed by Robert Falls at Goodman Theatre — Rob Riley (Ronald Reagan) and William Dick (Mikhail Gorbachev) in ‘Blind Date’ by Rogelio Martinez, directed by Robert Falls at Goodman Theatre. Liz Loren photo

Martinez also stuck a few lines in for Gorbachev to comment on democracy, voting and the concept that voters are often less than intelligent.

The “date” in the title refers to the summit in Geneva when the two world leaders first met face to face. However, the audience doesn’t see Reagan and Gorbachev or their wives until the last moment of Act I.

The first act is all about Secretary of State George Shultz (Jim Ortlieb) and Minister of Foreign Affairs Eduard Shevardnadze (Steve Pickering) paving the way for the monumental get together. Their acting and portrayals are suburb.

Their discussions are as much a “dance” as what Reagan and Gorbachev will do later on. The planners have to set parameters and learn to trust each other.

Then there is Act II in which audiences see Rob Riley as President Ronald Reagan and William Dick as Mikhail Gorbachev. The two leaders present their views on nuclear weapons and defense but those summit discussions are colored by Reagan’s view of the world expressed through quotes from films he loved, acted in or characters he admired.

Audiences also meet their wives. Deanna Dunagan is outstanding as Nancy Reagan as is Mary Beth Fisher as Raisa Gorbachev.

Mary Beth Fisher (Raisa Gorbachev) and Deanna Dunagan (Nancy Reagan). Coodman Theatre — Mary Beth Fisher (Raisa Gorbachev) and Deanna Dunagan (Nancy Reagan). Liz Loren photo

The fun part is the sparing between the world leaders and also between the wives in their determination not to be one upped.

It’s also interesting and fun to watch Michael Milligan as Press Secretary Larry Speaks. Reagan warns that Speaks, a native Mississippian, can be as dangerous and wily as a catfish. The media, presented as similar to the current Washington press corps, emphasize Martinez’s observations on several levels that little has changed.

Gorbachev poo poos the idea of a free press explaining that with one paper, the public knows that what it prints are lies. “The people aren’t stupid,” he says.

The Russian leader goes on to say that with many more newspapers, the public wouldn’t know who to believe and what are lies.

Because this summit is supposed to be about nuclear capability, the other two characters are Torrey Hanson as Secretary of Defense Caspar Weinberger and his counterpart, Gregory Linington as Vyacheslav Zaitsev.

The person arguably on stage the most when Reagan is also front and center is his biographer, Edmund Morris. Thomas J. Cox has the difficult job of portraying Morris, a person who has total access but is basically a fly on the wall.

11/19/1985 President Reagan and Soviet General Secretary Gorbachev at the first Summit in Geneva Switzerland. Photo from the Ronald Reagan Presidential archives> — 11/19/1985 President Reagan and Soviet General Secretary Gorbachev at the first Summit in Geneva Switzerland. Photo from the Ronald Reagan Presidential archives.

Audiences may wonder at Morris’ constant query to Reagan about who he is. In fact, Morris had said in interviews after his book Dutch: A Memoir of Ronald Reagan, came out in 1999, that he never felt he had full insight into Reagan the man. The book was also controversial because Morris wrote it as if it were from the standpoint of a fictional person who knew Reagan throughout his life.

This is a good show to either do some historical homework before going or arrive early enough to read the program which has excellent photos and good background on the meetings between Reagan and Gorbachev.

Directed by Robert Falls and thanks to the simple, effective set design by Riccardo Hernandez, ‘Blind Date’ moves seamlessly between the characters trying to set up the summit, the actions of the two world leaders, the concerns and behavior of their wives and the press conferences.

DETAILS: ‘Blind Date’ is at Goodman mTheatre, 170 N Dearborn Street Chicago, now through Feb. 25, 2018. Running time: 2 hrs, 30 minutes with one intermission. For other information and tickets call (312) 443-3800 or visit Goodman Theatre.

Jodie Jacobs

For more shows, visit TheatreinChicago

‘Joseph and the Amazing Technicolor Dreamcoat’ – a new and different kind of dream

HIGHLY RECOMMENDED

The first thing to know about the ‘Joseph and the Amazing Technicolor Dreamcoat’ production at Drury Lane Oakbrook is this isn’t the Sunday School version. Unlike the customary fare from the west suburban playhouse, it’s not even family-friendly entertainment.

That’s because director Alan Souza has boldly re-imagined the beloved Old Testament tale as a campy, Las Vegas-style spectacle complete with feather-clad showgirls, drag queens and celebrity impersonators.

The main action has been moved from pyramid-dotted Egypt to the pyramid-shaped Luxor Hotel on Las Vegas Boulevard.

Christina Bianco (top), Evan Alexander Smith (center) and Joseph's brothers. Photo by Brett Beiner. — Christina Bianco (top), Evan
Alexander Smith (center) and Joseph’s brothers. Photo by Brett Beiner.

Andrew Lloyd Webber’s music and Tim Rice’s lyrics, however, are largely preserved.

You’ll find the production either heretical or heap big fun. We choose the latter.

The musical begins with modern-day, travel-weary Joe, played by Evan Alexander Smith, arriving at his hotel room and climbing into bed for sleep.

A series of dreams reveals the story of the biblical Jacob and his 12 sons. Most notable of the dozen is the favored Joseph, to whom he gives a colorful coat. Thus launches a well-known biblical odyssey.

In Souza’s re-telling, past and present legends of the Strip, including Siegfried and Roy and their white tigers, appear along the way.

Joe’s dreams are narrated by songstress Christina Bianco and acted out by a talented cast. Bianco is an international YouTube sensation with more than 24 million views. Her vocal impersonations of the world’s greatest divas show astounding versatility and range.

She’s the production’s powerhouse, but Smith holds his own in solo numbers “Any Dream Will Do” and “Close Every Door.”

Colte Julian captures the room with his portrayal of the Pharaoh a la Jerry Lee Lewis at a sparkly silver grand piano. It’s understandable. He performed the role of Lewis for five years with national and Chicago productions of ‘Million Dollar Quartet.’ At Drury Lane, he is accompanied by the dancing brothers, who are attired in black sequined pants.

As a troupe, the brothers are highly adaptable. Their dance routines are high-spirited and precise, and their vocal rendition of “Those Canaan Days” is soulful.

Special mention must be given to choreographer Grady McLeod Bowman. A highlight of the show is the Act One finale: “Go Go Go Joseph,” a song-and-dance ensemble number that is sure to delight mature audiences.

In addition to Souza and Bowman, the creative team includes scenic designer Kevin Depinet, costume designer Ryan Park and lighting director Lee Fiskness. The Drury Lane Orchestra is led by conductor and keyboardist Alan Bukowiecki.

NOTE: This production is recommended for audiences age 13 and over as it includes adult content. Children under age 6 will not be admitted.

DETAILS: ‘Joseph and the Amazing Technicolor Dreamcoat’ is at Drury Lane Theatre, 100 Drury Lane, Oakbrook Terrace, through March 25, 2018. Running time: 2 hours. For tickets and other information, call (630) 530-0111 or visit Drury Lane Theatre.

Pamela Dittmer McKuen

For more shows, visit TheatreinChicago

Scathing and honest are interchangeable with ‘Traitor’

HIGHLY RECOMMENDED

The World Premiere of ‘Traitor’ at A Red Orchid Theatre is an adaptation of Henrik Ibsen’s ‘An Enemy of the People. Red Orchid ensemble member and playwright, Brett Neveu, adapted Ibsen’s drama and placed it in a fictional northern suburb of Illinois called East Lake.

Directed by Michael Shannon who is also an ensemble member, a founding member of A Red Orchid Theatre and a Tony Award-nominated and Oscar-nominated actor, ‘Traitor ‘is filled with one dozen inter-related characters whose different opinions and goals lead to heated discussions, sudden humor, angry arguments, profanity, and physical fights.

Dr. Tom Stock (Guy Van Swearingen) is the play’s lead, a science teacher who was raised in East Lake, moved away, and returned to his hometown many years later to help establish a new charter school to revitalize the small suburb of East Lake and bring others to the suburb.

Frank Nall, Guy Van Swearingen in 'Traitor' at A Red Orchid Theatre. Michael Brosilow photo — Frank Nall, Guy Van Swearingen in ‘Traitor’ at A Red Orchid Theatre. Michael Brosilow photo

His wife, Karla (Dado), is a book editor. Their two children, Molly (Missi Davis) is a first-grade teacher and Randal (Nation Henrikson), is a student at the new charter school.

While teaching at the charter school Tom notices the sluggishness and apathy of some of his students. That leads him to send samples of the school’s area soil to another scientist who finds it contaminated with dangerous levels of lead.

Tom is adamant to bring this severe problem to the town’s attention. He is convinced that with many of his contacts he will be successful.

His outspoken sister, Patty Stock (Kirsten Fitzgerald), is the town’s mayor. A close friend of his is Walter Hove (Larry Grimm), a newspaper editor. Madison Bills (Kristin Ellis) is an associate editor.

Most of the play’s scenes take place in Tom and Karla’s home where their friends and family are constantly coming in and out to visit, share meals, have drinks, and smoke.

But when Tom learns that many local investors in the charter school, including his father-in-law, Howard Kihl (Frank Nall, do not want to expose the school’s lead contamination, he realizes that he alone must release the truth.

Tom is reminded by his wife that many people in his past didn’t like his energy, especially when he stood up for what he believed in, regardless of others’ opinions.

Tom’s retort compares “scathing with honesty” and calls them “interchangeable,” as he devotes every minute to exposing the soil’s contamination.

Following intermission, the audience is led from Red Orchid Theatre to an empty storefront a few doors down. It is set up as the location for East Lake’s town council meeting which grows from verbal arguments over the school’s lead contamination to physical violence.

After feeling like town residents attending the council’s meeting, the audience is led back to their seats at the Red Orchid Theatre for the final scene which focuses on Tom’s goal to convince the East Lake residents to face their town’s serious health issue.

Tom’s wife, Karla, finally sides with her husband when their son, Randal, is rushed to the hospital with lead poisoning.

The rest of the very talented cast includes Jenn Sheffer (Natalie West), a shop owner and council member. The other council members are Fran Wysocki (Mary Jo Bolduc), Bill Strand (Stephen Walker) and Eric Rhyde (Jacob Alexander).

DETAILS: ‘Traitor’ is at A Red Orchid Theatre, 1531 North Wells Street, Chicago, through February 25, 2018. Running time: 2 hours and 30 minutes. For tickets and other information, call (312)943-8722, or visit A Red Orchid Theatre.

Francine Pappadis Friedman

For more shows, visit TheatreinChicago

‘Nevermore’ musical delves into the life of Poe

HIGHLY RECOMMEND

If you are a fan of macabre humor you will love this insight into Poe offered by Black Button Eyes Productions’ talented ensemble.

Cast of 'Nevermore' at The Edge Theater. The show runs through Jan. 28, 2018. Photo by Cole Simon. — Cast of ‘Nevermore’ at The Edge Theater. The show runs through Jan. 28, 2018. Photo by Cole Simon.

A musical written by Jonathan Christenson (book, music and lyrics), it investigates the life of one of America’s favorite poets and novelists purported to be the father of the modern detective mystery as well as a talented spinner of tales of horror and suspense.

Act One covers separation and death in the young boy’s life as well as his proximity to mental illness which together with an active imagination combined to create horrific visions and fantasies.

Act Two continues to explore the impact of his youthful experiences on his life and his work culminating in a suggestion of mystery surrounding his abrupt and unexplained demise.

Though the material is dark it is skillfully balanced by a lighthearted tongue-in-cheek humor that keeps it entertaining and fun.

The production is brilliantly cast. Each of the seven performers Kevin Webb as Edgar Allan Poe with Megan DeLay, Jessica Lauren Fisher, Ryan Lanning, Matt McNabb, Maiko Terazawa and Jeremy Trager could not be more perfect for their respective roles.

There is no competition on stage or mugging for the spotlight. Director, Ed Rutherford seems to have a clear vision that is well executed including important lighting (Liz Cooper) and sound effects (Robert Hornbostel). The surprise treatment of Poe’s great love “Sissy” is charming.

Music Director Nick Sula with the aid of his three piece band including synthesizer does an outstanding job setting and maintaining the fast pace that keeps the action moving.

If you are familiar with the works of Poe you cannot help but anticipate what they will do with his famous poem the “The Raven” which does not disappoint.

If you are a fan of vocal harmony you will love this score. Though lacking a real breakout number, Christenson’s music is very sophisticated and has a modern but slightly nostalgic feel that lends itself perfectly to the historic storyline.

Every performer has a beautiful voice – so much so that I would be willing to watch this as a concert without the splendid costumes of Beth Laske-Miller and campy choreography of Derek Van Barham.

The venue is super comfy with great sightlines and sound system operated by Kirstin Johnson was well modulated making the rapid musical dialogue easy to hear and understand.

This is a short run so get tickets before it can be seen “nevermore.”

DETAILS: Nevermore: The Imaginary Life and Mysterious Death of Edgar Allan Poe, is at The Edge Theater, 5451 N. Broadway Ave., Chicago through Jan. 28, 2018. For tickets and other information visit Black Button Eyes Productions.

Reno Lovison

Guest reviewer Reno Lovison is a proud alum of the Egdar Alan Poe Elementary School (K-5) in Chicago’s historic Pullman neighborhood.

For more shows, visit TheatreinChicago.

Top Chicago area shows of 2017

Theatergoers in the Chicago area are blessed with more good shows then can be seen given normal time schedules of work and play. And given that people’s interests are as varied as the offerings from the area’s approximately 250 companies, one person’s idea of paradise may be someone’s purgatory.

So it’s OK to write in the comment space your favorite show of 2017 whether our reviewers included it here in our Chicago Theater and Arts’ list or not.

The shows listed here are by no means the only great productions mounted in 2017 by Chicago’s talented theater community. The list could easily extend to the top 10 or 20 shows. It was hard for reviewers to pick just one but several factors were taken into consideration. Now, let’s hear your choice.

Ragtime – The Griffin Theatre Company, Chicago

Last summer’s production of ‘Ragtime’ by Griffin Theatre provided audiences with a new take on the Tony Award-winning musical. This spectacular production featured new orchestrations of the play performed with two pianos, a wind instrument and 20 actors. Created by director Scott Weinstein and music director Matt Deitchman, this All-American musical brought new perspectives on racism, immigration, social justice and other issues in a changing America, and literally, brought the house down!

Mira Temkin

'Silent Sky' at First Folio was a powerful play — ‘Silent Sky’ at First Folio was a powerful play

Silent Sky – First Folio Theatre, Oak Brook

‘Silent Sky’ by Lauren Gunderson is a touching, true story of Henrietta Swan Leavitt, a historic but unsung astronomer at Harvard University’s observatory in the early 1900s who was never allowed to use a telescope. Leavitt was a “hidden figure” before the female African American human computers whose work made the early NASA space launches possible. In this production, both the cast and the faux sky sparkled brilliantly at First Folio Theatre on the Mayslake Peabody Estate. (The property is in a forest preserve in Oak Brook).

Pam McKuen

Sean Fortunato and Jacob Kaiser in 'Billy Elliott. Photo by Michael Courier — Sean Fortunato and Jacob Kaiser in ‘Billy Elliott. Photo by Michael Courier

Billy Elliot – Porchlight Theatre, Chicago

I love the story and music of ‘Billy Elliot’ and Porchlight really did
justice to it on a very intimate stage.

Reno Lovison

Fun Home – Victory Gardens, Chicago

While I sat on the edge of my seat at the Victory Gardens Theater watching ‘Fun Home,’ I experienced a plethora of emotional family issues on several levels—from parent/child relationships and sibling interactions to growing up, coming out, and leaving one’s family. That’s what set the stage for ‘Fun Home,’ a musical adaptation of Alison Bechdel’s 2006 personal, graphic novel of the same name. It was presented on a sparse stage that easily allowed the audience to focus on the family’s characters. And the show’s music, especially its finale, “Flying Away,” brought the audience to its feet.

Francine Pappadis Friedman

Cast of 'Fun Home' at Victory Garden Theater. (Liz Lauren photo) — Cast of ‘Fun Home’ at Victory Garden Theater. (Liz Lauren photo)

The Book of Will – Northlight Theatre, Skokie

In ‘The Book of Will,’ playwright Lauren Gunderson shows how an appreciation of William Shakespeare’s works by his players, friends and families likely led to the publication of the Bard’s works in the 1623 First Folio. Scholars and playgoers understand the importance of the First Folio but its significance is truly felt in the show’s last scene when brilliant staging brings it all together.

Jodie Jacobs