Reviews – Page 6 – Chicago Theater and Arts

A meditative look at coping

Photo by Steve Graue

Recommended

A married couple confronts the age-old conflict of logic versus emotion. At first, it’s all academic until they are forced to address the realities of these opposing points of view within their own life and relationship.

It all plays out at the world premiere of Buddha’s Birthday directed by Iris Sowlat is at The Edge Theatre on North Broadway in Chicago.

Pamela (Kristie Berger) is an adjunct professor seeking tenure as an expert in world civilization studies. Husband Lawrence (Christopher Hainsworth) is a philosophy professor at the same university.

The couple have been challenged by an open letter in the school paper calling for the abolishment of areas of study that focus on accepted works of predominantly Euro-centric males whose arguably narrow viewpoints have shaped higher education.

In the meantime, Pamela is preparing an intimate 80^th birthday party for her eccentric, outspoken mother. Event preparation as well as her impending tenure interview is elevating Pamela’s stress level resulting in the resurfacing of old fears. To cope with her anxiety Pamela relies on meditation.

This is another intelligent and thought-provoking work by playwright Amy Crider who recently staged Wells and Welles at nearby CityLit Theatre in 2024.

Crider understands dialogue. Her characters sound like real people having actual conversations that employ a shift in language and cadence that make them sound individual.

Crider is also a good observer of life. It is clear she understands these characters and their situations. She has a knack for getting inside their head and exploring each unique perspective.

A small criticism is that the characterization of Lawrence is somewhat contradictory and less clear than the others. This actually provides some subtle humor at one point but makes the resolution seem excessive.

Pamela’s eighty-year-old emotionally neutral, cigar smoking mother, Roberta, played by Chicago stage veteran Kathleen Ruhl, is also accomplished academically. Roberta is concerned that her granddaughter, Pamela’s niece, is planning to attend beauty college to become a hair stylist.

Niece Jennifer (Amy Grey) is simply following her passion, blithefully accepting life and adapting in a seemingly simplistic way that causes Pamela to reevaluate her own approach to living.

Crider’s utilization of a pesky racoon, skillfully manipulated by Emilie-Helene Wingate, makes periodic appearances that offer an absurdist aspect to the production. This device provides some levity but is in fact a physical manifestation of Pamela’s unresolved fears and persistent anxiety.

The set designed by Kevin Hagan had a striking contemporary feel though I thought the blank walls that dominate the stage could use some further embellishment.

Its two Asian scrolls are the same size as the windows making it look like four windows. This is visually confusing, drawing attention away from the action that periodically occurs inside the windows.

Moving the table on the set a little bit more forward would provide some separation from the wall and bring the action closer to the audience and is where most of the activity takes place. Sound and lighting design of Alvaro Ledesma was very effective especially in the rain and dream scenes.

I saw this on opening night of this world premiere and was overall impressed with its thoughtful content although it would benefit from a little tightening up.

The final scene was awkward and there are a number of minor subtopics, though important issues, that maybe do not necessarily need to be addressed in this play. This is a story of academic prejudice and unresolved fear worth exploring. It was never boring but some segments were longer than they needed to be.

DETAILS: “Buddha’s Birthday,” is produced by Lucid Theater at The Edge Theater, 5451 N. Broadway, Chicago through August 17, 2025. Run time: 2 hours with no intermission. Visit www.lucidtheater.com for tickets and more information.

Review by Reno Lovison

For more reviews visit theatreinchicago.com

A musical mosaic

Highly Recommended

The Chicago premiere of Amélie the Musical by Kokandy Productions based on the popular motion picture is a musical mosaic composed by Daniel Messe whose colorful jagged pieces eventually come together into an enjoyable if not perfectly clear image.

This is not a musical in the strict sense but rather an extravaganza of a dozen singer musicians utilizing a myriad of instruments. They perform a dizzying array of Parisian characters to tell a sweet boy-meet-girl tale based on the character of Amélie, charmingly portrayed by Aurora Penepacker.

The story seems incidental to the exuberant performance of roughly thirty musical numbers that stream one into the other over two acts. Ostensibly it tells of Amélie’s life from birth through her mid-twenties as she searches for meaning through random acts of kindness and an ultimate, though reluctant, quest for love.

The action mostly takes place on the streets of Paris, in Metro stations, the bistro where Amélie works, and in her apartment. But they morph like a fever dream one into the other through the employment of a door, a few tables or in the case of the Metro station a photo booth that enters and exits through a portal at the back of the stage area.

Amélie’s love interest Nino (Joe Giovannetti) works in a sex shop but is obsessed with finding a mysterious man who takes pictures of himself in Metro photo booths around Paris then rips them in half and discards them. Nino wants to know why he does this and who he is – – saving the discarded fragments in a scrapbook that Amélie finds, leading to their meeting.

Joining his quest, she conjectures that the man is dead and going around taking pictures of himself to prove he is still alive. The storyline is peppered with absurd encounters and arbitrary obscure facts.

Staged in the downstairs studio at the Chopin Theatre there is a designated floor level performance area with the audience arranged on three sides. However, bistro tables offer additional seating and performers enter and exit from every direction making this an immersive experience.

Musical instruments are stationed throughout the space standing at the ready. Each member of the ensemble not only has an exceptional singing voice but also plays several instruments, at one moment guitar, then violin, percussion or trombone. The accordion of Lucas Burr as the blind beggar provides a distinctive Parisian atmospheric element.

The performers are having such a good time it is unclear whether the audience is there to enjoy the performance or to give the performers an excuse to enjoy themselves. The Elton John inspired interlude by Todd Aulwurm is a show stopper.

To my ear there were no standout melodies but the contemporary compositions have a distinctive Parisian tonality.

Because the performers are singing with French accents the lyrics of Daniel Messe & Nathan Tysen can be difficult to grasp at times. This is no reflection on dialect coach Carrie Hardin who obviously did a great job.

However, combined with the generally frenetic pacing it may take a moment of comprehension that contributes to the fragmentation of the overall “picture.” But if you let the experience simply wash over you, not worrying whether you caught every word or phrase – – like a mosaic the pieces eventually assemble into an image that you can stand back and admire.

The stage direction and choreography of Derek Van Barham with assistance of Quinn Simmons in this avant-garde space is beyond admirable. Simply moving the performers in and out while keep track of who is playing what instrument at any given time is a feat in itself worthy of the finest marching band. Doing all this while also paying attention to the advancement of story is laudable.

This is indeed a group effort and everyone’s contribution is evident. I assume based on her headshot that Penepaker as Amélie is wearing an awesome wig designed by Keith Ryan. The stark black color and blunt cut is striking against the shocking red outfit designs of Rachel Sypniewski.

Kudos to stage manager Kendyl Meyer and assistant stage manager Ethan Colish for being sure everything and everyone was in place during the live performance.

G “Max” Maxin IV lighting is essential for adding atmospheric effect to the minimalist set design. Bouncing lights off the various windows hanging around the perimeter of the stage was brilliant.

The properties assembled or designed by Julian Weslander such as the garden gnome, treasure box and scrapbook are pivotal to understanding the storyline and are delightful.

The action is of course dependent on having a stellar musical ensemble led by T.J. Anderson and Anna Wegener. Congratulations to the casting committee for putting together such a capable group of musicians and singers to work with that included: Rachel Carreras, Sonia Goldberg , Sam Hook, Mizha Lee Overn, Jon Patrick Penick, Quinn Rigg, Samantha Ringor, and Kelan M. Smith. Swings: Joel Arreola, Hailey Brisard, Neill Kelly, Andrew Lund, Gavin Rhys and Melanie Vitaterna.

The sound design of Matt Reich implemented by sound engineers Lynsy Folckomer and Mackenzie Hahn with technical director David Moreland was perfection on press night. Managing an array of sound effects, instruments and voices moving throughout the space with sound levels and volumes well balanced is impressive.

This may well have been or will be performed on a proscenium or in the round at some point but the opportunity to experience this unusual staging is worth the effort.

Details: Amélie by Kokandy Productions is at Chopin Theatre, 1543 W. Division St., Chicago through September 28, 2025. Running time is 2 hours and 20 minutes with one intermission. For information and tickets visit kokandyproductions.com

Review by Reno Lovison

For more reviews visit Theatre in Chicago

A feminist fable ?

RECOMMENDED

Sentinels, a contemporary feminist fable that might have happened or might still be happening is making its world premiere at Theo Ubique Cabaret Theatre.

In order to advance positive social change, a group of super smart mid-century co-eds poised to enter positions of power vow to use their influence to see to it that more women have a seat at the table where big decisions are being made.

Inspired by Yale’s famed Skull & Bones, five female students at Joan of Arc University in Milwaukee contrive to establish an elite society to advance women into places of decision-making authority and leadership.

Faced with the condemnation of their secret meeting place on campus the current group of Sentinels must confront the possibility of disbanding. The location, festooned with intellectual graffiti and brimming with a hodgepodge of a half-century of historic memorabilia, seems essential to their existence.

The discovery of a cache of old meeting minutes helps the women realize the depth of accomplishments their predecessors achieved.

Told through a series of vignettes highlighting various advances in social equality over the past fifty years, this clever production has a cautionary comic-book like quality that is simplistic but ultimately inspiring.

Directed by Christopher Pazdernik, each of the five actors (Arwen-Vira Marsh, Dani Pike, Joryhebel Ginorio, Sophia G. Dennis, Maliha Sayed) play multiple roles, with Anne Sheridan Smith as President Sureham.

Written by Writers Theatre co-founder Marilyn Campbell-Lowe, the production features a finale musical number best described as an anthem. Music is by Kim D. Sherman with lyrics by Sherman and Campbell-Lowe.

This can be a good capsule lesson in current events or history especially for teens and those interested in feminist topics and/or societal change. But be advised that its discussions of sexual activity and termination of pregnancy may not be suitable for all audiences.

Details: Sentinels is at Theo Ubique Cabaret Theater, 721 Howard St., Evanston, through August 10, 2025. Runtime is 75 minutes with no intermission. For information call 773-939-4101 or visit theo-u.com.

Reno Lovison

For more reviews visit Theatre in Chicago

Broadway in Your Backyard

Theater in Chicago doesn’t end when summer begins.

Filled with 60 minutes of songs from many favorite popular musicals we enjoyed the kickoff of Porchlight Theatre’s Broadway in Your Backyard earlier this month at Berger Park in Edgewater. There’s still time to catch future performances through July and August.

July 22, 2025 at 6:30 p.m. – Welles Park, 2333 W. Sunnyside Ave. The day also features Kids’ Day activities and treats for children under 12, while supplies last. It is sponsored by Porchlight Young Professionals Associate Board Picnic and includes tasty bites, refreshing drinks and show-stopping performances.

July 23, 2025 at 6 p.m. – Washington Square Park, 901 N. Clark St. For details visit PorchlightMusicTheatre.org.

Windy City Winds is also offering free summer performances of Broadway melodies: July 23, 7 pm – North Center Town Square, Lincoln & Damen and July 26, 3 pm – Washington Square Park, Clark & Delaware.

Music from featured musicals include. “The Lion King,” “The Sound of Music,” “Hamilton,” “Phantom of the Opera,” “West Side Story,” ” A Chorus Line,” ” Wicked “….and more.

There is still plenty of summer left and a number of good musicals between now and the end of August.

“A Funny Thing Happened on the way to the Forum” at Skokie Theatre.

“A Color Purple” at Goodman Theater.

“Always Something There” at Marriott Theatre, Lincolnshire.

Disney’s Beauty and the Beast a the Cadillac.

MJ featuring music of Michael Jackson at Nederlander Theatre.

And three special repeat performances of “Forever Plaid” plus a 95th birthday celebration of Stephen Sondheim both at Skokie Theatre.

Check the various theater websites for tickets and specific details.

Compiled by Reno Lovison

Hilarious Maximus

Recommended

MadKap Productions live up to their name in Stephen Sondheim’s ridiculous musical “A Funny Thing Happened on the Way to the Forum” directed by Wayne Mell.

The story ostensibly takes place in ancient Rome spoofing the absurdities of life, particularly romance and sex (then and now).

Using broad humor, slapstick shtick and endless innuendo, this is very much like an extended skit with music that might have been performed at a Catskill’s resort.

Hero (Tyler Lord) is the son of Senex (Mark Anderson) and Domina (Erin Renee Baumrucker). He is in love with Philia (Emily Lewis) a virgin courtesan in the house of Marcus Lycus (Daniel Leahy).

Hero’s slave, Pseudolous (Ed Rutherford), convinces Hero that in exchange for freedom he can arrange a liaison between Hero and Philia. The one complication is that Philia is owned by Marcus Lycus who has contracted to sell her to “the great Roman captain” Miles Gloriosus.

A further complication is that as part of the ruse Hero’s father comes to believe that Philia is a maid in his house and he has romantic designs on the girl as well.

During the ensuing madness and subterfuge, the remaining courtesans from the house of Marcus Lycus (Abby Glaws, Beth Fine, Jubilee Tai, Raymond Cam Truong, Anna Rose Steinmeyer, Katie Kotila) are paraded about to display their many talents.

Swept up in the plot are next door neighbor Erronius (Gayle Starr) and Hysterium (Andrew Buel), chief slave in the household of Senex.

Adding to the pandemonium are The Proteans (Aidan Espinosa, Owen Espinosa, Mitchell Shaw) a trio of hilarious characters who switch between playing eunuchs in the house of Marcus Lycus and soldiers under the command of Miles Gloriosus.

Reminiscent of wisecracking actor comedians like Mel Brooks or Zero Mostel, Rutherford as Pseudolous acts as ringmaster of ceremonies to this circus absurdum. On stage ninety percent of the time, he breaks the fourth wall describing the action and he is central in the plot and much of the cornball humor. Rutherford though, brings his own winsome personality and unique comedic sensibility to the role.

Lord as Hero who recently appeared in MadKap’s equally outlandish production of “Romeo and Bernadette,” reprises his portrayal of the confused and innocent lovelorn youth.

Back in drag on the Skokie Theatre stage, this time with a veil, is Andrew Buel who very convincingly plays the tormented household slave Hysterium entrusted with looking after Hero while his parents are away. Buel was seen recently as the coconut bra wearing dancer Luther Billis in South Pacific. His lanky form and expressive visage lend an additional comical dimension to his performance.

The obvious sexuality of the courtesans might be seen by some individuals with contemporary sensibilities as gratuitously sexualizing women. Likewise, Leahy’s swishy physicality as Marcus Lycus is rather stereotypical. But it all plays well in the context of this retro vibe script of Shevelove and Gelbart. After all B.C. was not very P.C. and neither was 1962 when this play was written.

The Geminae courtesan dance of Tai and Truong with choreography by Abby Glaws was a standout in the otherwise somewhat lackluster delicatae. They might ham it up more and enjoy the opportunity to be a bit campier in future performances.

We missed seeing the very capable Jeremy Ramey who is credited here with music design and orchestration of what appeared to be a prerecorded backtrack for the vocals.

The one fail of opening night was a poor sound mix that at times overpowered the performers and was complicated by some inconsistent mic issues. Presumably this will be addressed in future performances.

Costumes by Dame Erickson were spot on especially Gloriosus and the soldiers as well as the trio of pink gowns meant to add to the confusion of ACT II.

The simple set design works well but may benefit from an element that ties the three set pieces together in some unified fashion. Perhaps a Roman arch? Pat Henderson’s lighting seemed a bit hot to me and might have been dimmed a bit to keep everything from looking too flat.

As is usual for MadKap the performers’ singing is exceptional. The baritone of Perkel as Gloriosus in “Bring Me My Bride” was perfectly commanding. Sondheim’s use of wordplay in the lyrics is quite evident in this work though aside from the classic “Comedy Tonight” there are not any other really memorable tunes.

Overall, I heard a number of positive comments from the audience as they filed out. This is indeed madcap humor and a lot of good old fashioned nonsensical fun. Sometimes that’s just perfect for a summer theater experience.

Details: “A Funny Thing Happened on the Way to the Forum” by MadKap Productions is at the Skokie Theatre, 7924 N. Lincoln Ave., Skokie, IL through August 3, 2025. For tickets visit SkokieTheatre.org or call 847-677-7761.

Reviewer: Reno Lovison

For more reviews visit Theatre in Chicago

Arthur perfect for young audiences

Arthur & Friends Make A Musical!

Recommended

—And it is fun for all from young kids to their parents and grands. Because Marriott Theatre for Young Audiences pulls from their regular list of actors for the children’s shows, audiences can expect top notch acting and singing.

“Arthur & Friends Make A Musical,” a new adaptation using the characters from books and TV, basically is built around the theme of “be true to yourself” rather than adopt a personality you think will either be more interesting to others or win a competition. The vehicle used here, explained in the title, is for Arthur’s class to make and perform a musical show.

Older youngsters, say, third or fourth graders in the audience, will probably understand that theme but the little kids who sat near me were simply enjoying the music and wanted to dance to the upbeat songs.

That’s OK. Because they are exposed to Theater.

Directed and choreographed by Tommy Rivera-Vega with musical direction by Otto Vogel, “Arthur,”as with other Marriott Children’s shows, is timed to appeal to young audiences. The performance is an hour followed by a Q and A with the cast that should pull in the middle graders.

The cast: Arthur is played by Winter Olamina. Other characters are Joryhebel Ginorio as “DW,” Garrett Lutz as “Buster,” Danielle A. Davis as “Francine” & “Mom,” Arwen-Vira Marsh as “Muffy,” Andrés Enriquez as “Brain” & “Dad,” and Ron King as “Mr. Ratburn.” Also a shout out to Nicholas Hartman for Costume Design which helps connect the young audience to the characters.

The show is based on “Arthur™” created by Marc Brown with book and lyrics by John Maclay, music and lyrics by Brett Ryback. The original production was developed and presented in 2022 by First Stage, Jeff Frank, Artistic Director.

Details: ‘Arthur & Friends Make A Musical” is at Marriott Theatre, 10 Marriott Drive, Lincolnshire, now through Aug. 10, 2025. Most shows are at 10 a.m. with some at 12:30 p.m., Wednesday-Sunday with an ASL interpreted show Aug. 9 at 10 a.m. For tickets and more information visit www.marriotttheatre.com

Jodie Jacobs

Theatre in Chicago

Purple is Splendid Color

L - R) Lachrisa Grandberry, Brittney Mack, Ariya Hawkins and Aerie Williams.

From left Lachrisa Grandberry, Brittney Mack, Ariya Hawkins and Aerie Williams in “The Color Purple” at Goodman Theatre. (Photos by Brett Beiner)

Highly Recommended

Tragic, hilarious, loud, energetic, fun and heartwarming, “The Color Purple-The Musical” at Goodman Theatre is nearly three hours of nonstop entertainment featuring an outrageously talented cast directed by Lili-Anne Brown with choreography by Breon Arzell.

This musical version of the story based on the Pulitzer Prize winning novel by Alice Walker has all of the appearance and qualities of Grand Opera beginning with the magnificent set design of Arnel Sancianco, beautiful costumes by Samantha C. Jones and a gigantic jazz/pop gospel inspired score by Brenda Russell, Allee Willis and Stephen Bray that includes nearly 20 musical numbers, providing every key player their own memorable lead vocal with chorus.

The show opens with a wash line silhouette of two young girls singing a children’s chant/song “Huckleberry Pie” then moves to the entire company singing “Mysterious Ways” setting the tone for the spiritual and circuitous life journey about to take place.

Set in rural Georgia in the early part of the 20^th Century, The Color Purple follows about 30 years of the life of Celie (Brittney Mack), an African American woman who has been raped by her father, separated from her children and beloved sister then beaten by the man she is forced to wed. In the end she finds herself, her voice and her own strength and passion through the love, support and inspiration of a few women around her.

Celie’s sister Nettie (Shantel Renee Cribbs) is attractive and intelligent with an ambition to be a teacher that ultimately takes her far from her dear sister and their southern rural roots.

Considered ugly and slow with the ability to work like a mule, Celie is married off to Mister (Evan Tyrone Martin) primarily to keep house and look after his young children. He abuses her relentlessly but Celie feels trapped with no real options.

One of Mister’s children Harpo (Gilbert Domally) grows up to be a sensitive man who falls in love with Sofia (Nicole Michelle Haskins), an outspoken woman who has mastered the phrase “Hell no!”, which eventually lands her in trouble with the white mayor’s wife.

Observing Sofia’s ability to stand up to power and specifically the men in her life, Celie takes notes that ultimately contribute to her own defiance and release from the dominating forces that rule her.

The beautiful and talented Shug Avery (Aerie Williams) is a local girl who made good, singing in Memphis, who makes periodic returns home. Mister has been hopelessly in love with Shug all his life but was forbidden by his father (Sean Blake) to unite with a woman of ill repute.

Now considered to be approaching her peak, ill and with most of her best years behind her Shug comes to live with Mister and Celie. As part of this triumvirate Celie looks after Shug and nurses her to well-being. In the process the two find a kind of love neither of them has ever experienced before, forging a bond from which Celie draws ever increasing confidence and strength needed to finally break away from Mister.

The story has a happy ending seeing a repentant Mister and revitalized, independent, strong Celie, vocalizing her personal success in the musical number, “I’m Here” reunited with her prodigal sibling and children.

This is the level of quality theater you expect to see in a Chicago Loop production. Whether you are a seasoned theater goer or attend a few plays periodically you absolutely cannot go wrong with this choice. Ideal for Chicago area residents and visitors this will be a memorable experience perfect for a special occasion or simply a great night out. Don’t miss it.

DETAILS: “The Color Purple -The Musical” is at Goodman Theatre, 170 N Dearborn St, Chicago, IL, through August 3, 2025. Running time about 2.5 hours with one 15 minute intermission. For tickets and other information visit goodmantheatre.org or call Phone: (312) 443-3800.

Reviewed by Reno Lovison

For more reviews visit Theatre in Chicago

Absurdist theater and spoken word

Tom & Eliza

Highly Recommended

“Tom & Eliza” is a fairly brilliant example of absurdist theater. Beautifully performed by Clifton Frei as Tom and Seoyoung Park as Eliza, it is written by Celine Song and expertly directed by Aileen Wen McGroddy.

Reminiscent of Ionesco and Albee, “Tom & Eliza” focuses on ideas of existentialism and exploring the psychology of aging, marriage and sexual relationships with an attitude of absurd surrealism.

On the surface, this is the story of two people whose parents made love, they were born, they had three dates, they made love on their third date, they had children, they lived, loved, made choices, grew apart, came back together, they lived separate existences then faded into their own oblivion.

Playwright Song shows us the arbitrary and bizarre trajectory of life and relationships based on spontaneous often impulsive decisions with little understanding of purpose or potential consequences.

The two share certain commonalities but they are also as different as fire and water. Tom is a seeker of knowledge interested in the evolution of civilization on the banks of four great rivers. Eliza is a destroyer of knowledge with a passion for burning books.

I see this as a spoken word performance akin to a musical duet without music. There is a cadence to the words as Tom and Eliza tell their stories via short clipped phrases with a captivating rhythmic quality.

There are a number of repeated phrases that have the effect of a song’s chorus or hook, reminding us of what we have learned while preparing us for where we are going.

Like an epic poem recited alternately by two people, they are mostly each speaking introspectively to the audience and occasionally to each other. It’s clear that real communication between the characters is superficial. They are on parallel paths that are asynchronous, yet the performance is very much in sync.

As performers Frei and Park have clear well-articulated euphonious voices, pleasant to listen to no matter what they are saying. And that’s important because they are speaking basically nonstop for 70 minutes atop two tall stools but never speaking over each other.

The austere set design of Tatiana Kahvegian augmented with lighting by Keith Parham and sound design of Alex Trinh appears deceptively simple but is fraught with considerable challenges that include a number of surprises. The technical elements come together seamlessly through obvious team work.

Tom & Eliza is a challenging and thought-provoking presentation that may not appeal to a wide audience, in fact the theater only seats about 25 people, but this entire production is an example of elegant stage craft achieved through the effort of the entire crew and company that will be appreciated by those willing to take a risk to enjoy something a little out of the ordinary.

Tom & Eliza is at Tuta Theatre, 4670 N. Manor Ave., Chicago, IL (steps from the Francisco CTA Brown Line station) through Aug. 16, 2025. Running time is 70 minutes with no intermission. For tickets and information visit tutatheatre.org

Review by Reno Lovison

For more shows visit Theatre in Chicago

Visit Devon Avenue in Chicago

Anish Jethmalani and Tina Muñoz Pandya in “Dhaba on Devon.” (Photos by Michael Brosilow)

Recommended

Many cultures have opened stores and restaurants over the years on Devon Avenue, a north-side shopping street that ends at Sheridan Road. Mid last-century when my family lived in Chicago’s Rogers Park area and I attended Sullivan High School, Devon was very Jewish and a perfect place to find good clothing stores, jewelry shops and delis.

That changed. And the reason I mention it is because the play, “Dahba on Devon Avenue ” is about how neighborhoods and customer needs change.

After moving to the northern suburbs and returning after college, I would go to Devon Avenue with friends to eat and grocery shop for seasonings and specialty items at ethnic restaurants and stores, often those from India and Pakistan such as the Patel group.

That was years ago. I don’t know what Devon Avenue is like today but I can understand how a longtime owner might fight change when his restaurant fails to attract or keep customers. And why his family tries to get him to adopt to the changing times.

“Dhaba On Devon Avenue” by Madhuri Shekar, a world premiere by Writers Theatre in Glencoe, co-produced by Timeline Theatre, is about that fight. The restaurant, Dhaba Canteen, has been a neighborhood spot for years but now can’t refinance after business has fallen off.

Complicating matters, owner and chef Neeraj, preformed with a fine combination of heart and stubbornness by Anish Jethmalni, has Parkinson’s so can’t taste and smell his food the way he used to. He also won’t admit to that problem or accept help until too late from his friend, Jahan, (Adil Jaisinghani) who has a snack empire of Indian cookies.

Mueen Jahan and Anish Jethmalani

Mueen Jahan (left) and Anish Jethmalani in “Dahba on Devon Avenue ”

Daughter Rita (Tina Munoz Pandya, perfectly interpreted as a willing co-worker at the restaurant) and Sindhu (Arya Daire, sort of an estranged daughter whom Rita has called about their problems) bring the situation to a conclusion.

As a foil to all the kitchen activity and intergenerational drama, is line cook Luz (well depicted by Isa Arciniegas).

And in case you’re thinking the place is a large eatery know that“dhaba” can be translated in Hindi for “hole in the wall” and used here to mean a very small restaurant.

Directed by Chay Yew with set design by Lauren M. Nichols and costumes by Christine Pascual, “Dhaba” and cast were surely moved, dishes, aprons and kitchen, from Devon Avenue into Writers Theatre in Glencoe.

Details: “Dahba on Devon Avenue ” at Writers Theatre with TimeLine theatre, is at 325 Tudor court, Glencoe, now thru July 27, 2025. Running time: 90-95 minutes with no intermission. For tickets and more information visit WritersTheatre or call (847) 242-6000.

Jodie Jacobs

For more reviews visit Theatre in Chicago

Marriott Theatre show offers a second chance

Young Samantha, portrayed by Christina Priestner, and high school friends in “Always Something There” at Marriott Theatre, Linkolnshire.

Highly Recommended

Would you want to relive life from teenage years and maybe beyond?

Think about it while you watch Marriott Theatre’s premiere of “Always Something There,” a brand new jukebox musical from the pen of Sandy Rustin (The Cottage, Mystic Pizza).

Samantha Craig, played by indomitable stage veteran Heidi Kettenring, retires for the night at a hotel the day before her 45th birthday. The last thing she remembers is making a wish.

When she awakes in the morning it seems the wish has come true because Samantha, now portrayed by Christina Priestner, is 18 and back in her suburban Chicago high school surrounded by her senior class buddies. Of course her friends include the school’s male band members and audiences hear the sounds of 1980’s pop music.

The only things is this young Samantha still functions with her adult brain and background knowledge.

However, she will not follow her past. Knowing now what she really wants she can change her decisions.

Directed by James Vasquez with book by Sandy Rustin, orchestrations and arrangements by Geoffrey Ko directed by Ryan t. Nelson and really well choreographed by Tyler Hanes, this new musical has all the ingredients needed to become a welcome addition to the jukebox lexicon. It’s fun and has a delightful time-travel theme that can be enjoyed by all ages,.

DETAILS: “Always Something There” is at Marriott Theatre, 10 Marriott Dr, Lincolnshire, now through Aug. 10, 2025. Two acts. For tickets visit Marriott Theatre – Musicals and Children’s Theatre in Lincolnshire, IL

Jodie Jacobs

For more reviews visit Theatre In Chicago.