Theater – Chicago Theater and Arts

Stingingly familiar peek at organizational leadership

The Whole Seamus Thing

Highly Recommended

The founder of a plucky not-for-profit who has been on administrative leave returns threatening to revert to the status quo and up end planned changes taking place in his absence.

This is a humorous take on a very real inflection point where an organization is moving beyond the skill set of the founder whose success has been largely due to an ability to engage others in their vision. At the same time those in administrative positions and others operating behind the scenes do not fully appreciate the value of charisma and passion.

Writers Ben Auxier and L.C. Bernadine seemed to have had a shared experience that has allowed them to capture, with one voice, the essence of the behind-the-scenes realities of typically underfunded, understaffed and overworked not-for-profits often surviving on dedication to make up for a lack of resources.

“The Whole Seamus Thing,” skillfully directed by Spencer Huffman is a perfect ensemble piece where each cast member is equally weighted. No one stands out as more important than anyone else in regard to telling the story. Each role speaks on behalf of one of the organization’s stakeholder groups.

The simple set design by Raquel Dwight combined with the effortless dialogue, in this intimate theater space, has a naturalness that puts you immediately at ease and feeling like you are a fly on the wall.

Seamus (Alexander Attea) is the affable, sometimes disingenuous, passive aggressive founder who feels his lofty position allows him the latitude to behave as he wishes, often with total disregard for the feelings of others.

Mel (Lydia Moss) is currently the communications manager, aspiring to become the new executive director who is feeling overwhelmed by having to cover for the founder’s short comings including his lack of attention to detail.

It is the tension between Seamus and Mel that drives the plotline.

Co-writer Ben Auxier plays Marty the laid-back confidante of Mel who represents the support staff that keeps the ship in balance. He works hard to relieve tension by running interference between the opposing factions. This job is his livelihood and his safe harbor. He does not seek personal attention and does not want to contribute to anything that rocks the boat.

Gabriel Fries offers a measured comic sensibility as Newton, the clueless board member who has stepped in as acting executive director until the situation regarding the “whole Seamus thing” is resolved. He has very little idea of the inner workings of the organization or what he is supposed to be doing so he busies himself as cheerleader-in-chief hoping to keep everyone motivated.

Olivia Lindsay is quietly hilarious as Kayla the industrious well-meaning volunteer who has a penchant for climbing ladders and zealously guarding the precious markers and tape. It is no surprise that Lindsay is also a professional clown incorporating every element of her being into the role.

Those who have any experience with working inside a grassroots not-for-profit will feel the sting of familiarity. For those without that experience it is a peek into an unknown word that smacks of a reality TV show or a mockumentary like “Waiting for Guffman” or “Spinal Tap.”

Details: “The Whole Seamus Thing” is at Bramble Arts Loft, 5545 N. Clark St, Chicago. through April 19, 2025. Running time is about 90 minutes with no intermission. Tickets are on sale at https://bit.ly/seamusthing

Reno Lovison

A very Sunny Afternoon

“Sunny Afternoon” brings The Kinks greatest hits to The Yard at Chicago Shakespeare Theater. (Photo credit: Carol Rosegg)

HIGHLY RECOMMENDED

The Shakespeare Theater at Navy Pier seems an appropriate site for a retrospective British invasion of Chicago.

This energetic jukebox musical, “Sunny Afternoon,” enjoying its North American premiere here in Chicago, is based on the story of the Kinks as told by lead singer and songster Ray Davies, filtered through the adept hand of playwright Joe Penhall.

Following on the heels of the success of The Beatles and Rolling Stones, another group of working-class lads from the outskirts of London called The Kinks made their mark on the history of Rock and Roll.

Their first big splash on both sides of the pond was “You Really Got Me” featuring an iconic fuzzy five chord guitar riff.

The fifteen-member cast of talented actor/singer/dancer/musicians, directed by Edward Hall, move seamlessly onstage and around the theater, through twenty-five musical numbers often playing multiple roles while switching instruments as necessary to provide the very appreciative audience with virtually nonstop entertainment.

The beginning of the second act is punctuated with an impressive solo by Kieran McCabe as drummer Mick Avory.

Danny Horn perfectly embodies the pivotal role of the depressive Ray Davies, plagued by his feverish mind and manic need to create.

Oliver Hoare plays Ray’s uninhibited and rambunctious brother Dave Davies a/k/a “Dave the Rave” whose sometimes comical and often boisterous antics take their toll on those around him.

Horn and Hoare are both imports from the popular West End production of the show.

The roughly seven-year storyline covering the rise of the group, their egregious record deal and arduous touring schedule, combined with strained personal relationships, is not much different from the experience of many rock and roll bands of the era, but it is enough to supply the narrative necessary to create an excuse to move from song to song.

“A Well Respected Man” is used cleverly to introduce the band’s self-described Torrey managers Larry Page (Sean Fortunato) and Grenville Collins (Will Leonard) whose uptight characters provide much of the comic moments in the show. “He’s a well-respected man about town – – Doing the best things so conservatively.”

Horn sings a beautifully harmonious duet of “This Strange Effect” with Anna Margaret Marcu as Ray’s girlfriend and soon to be wife Rasa.

The show’s title song “Sunny Afternoon” is inspired by the idea that after the tax man has gotten his share of the money and his girlfriend has left, at least he can enjoy the freedom of a summertime sunny afternoon.

The grand finale reprises a medley of the Kink’s most memorable songs, “All Day and All of the Night”, “You Really Got Me”, and “Lola.”

They “really got me.”

DETAILS: “Sunny Afternoon” is at the Chicago Shakespeare Theater, Navy Pier, through April 27, 2025. Running time is about 2 and a half hours with a 15-minute intermission. For tickets and information visit ChicagoShakes.com

Reno Lovison

For more reviews visit Theatre in Chicago

Nonequity Jeff awards announced

(Artwork courtesy of Kokandy Productions)

Non-equity Jeff award recipients for the 24th season were named during a ceremony at the Harris Theater in Chicago, March 24, 2025. They were chosen from 138 nominees in 25 artistic and technical categories. The evening featured included acts from several nominated productions.

Kokandy Productions topped the award list with five for its musical production of “Into the Woods” in the Production, Ensemble, Direction, Musical Director for a Musical/Revue and Artistic Specialization for orchestrations categories.

Open Space Arts took four awards for its Short Run Productions (nine – 17 performances) including “Cock” that received awards for Short Run Production and Short Run Supporting Performer plus “Light Switch” that received honors for Short Run Director and Short Run Principal Performer.

The 2024 Non-Equity Award in the Production – Play category went to City Lit Theater Company for August Wilson’s “Seven Guitars.” It also received an award for Performer in a Supporting Role. (“Seven Guitars” represents the 1940s section of Wilson’s Pittsburgh Cycle.)

For a complete list of award recipients go online in the Non-Equity and News and Events sections of www.jeffawards.org.

Jodie Jacobs

Tale mixes remorse and romance

Jennifer Agather and Robert Hunter Bry in “The Winter’s Tale” at Invictus Theatre. Photo by Aaron Reese Boseman Photography.

Highly Recommended

A story of reproach, remorse and reconciliation, William Shakespeare’s “The Winter’s Tale” presented by Invictus Theatre, has something for everyone. It is both tragedy and a romantic comedy with sorrow, absurdity, mirth and fantasy.

The opening act is clear tragedy and might have you wondering what you’ve gotten yourself into.

King Leontes (Michael Stejskal) falsely accuses his wife Hermione (Andrea Uppling) of having an affair with his brother, Polixenes (Raúl Alonso), that has resulted in her pregnancy.

The accusation has tragic consequences for Hermione and the couple’s son and heir, prince Mamillius (Jennifer Agather).

The new born baby girl is sent with Antigonus (Fred A. Wellisch) to the outskirts of the kingdom to be abandoned in the woods.

There are three superb monologues expertly performed. The first is by Uppling as Hermione when she defends herself. Then by Hermione’s good friend Paulina (Amber Dow) who admonishes the King for his actions. And lastly, by Stejskal as Leontes when he realizes what he has done.

These three are the pivotal players who clearly demonstrate the high level of performance within the ranks of the Invictus Theatre company.

Things lighten up considerably in the second act sixteen years later. The baby, who has been named Perdita (Jennifer Agather) has been found and raised by a shepherd (Chuck Munro).

She has grown into a beauty who has caught the eye of prince Florizel (Robert Hunter Bry). Ironically, he is the son of her Uncle Polixenes, the ruler of the neighboring kingdom of Bohemia, a place of bawdy fun and good cheer.

We won’t get into the fact that these two are first cousins. After all, this is a royal romance and it’s important to keep the bloodline in the family.

This act is full of youthful exuberance. It includes a hilarious scene of buffoonery, that would be a great success on any vaudeville stage. The performance involves Autolycus (Sam Nachison) a vagabond trickster who cleverly steals the clothes off the back of the Shepherd’s son (Kyle Quinlivan).

In the end, all the characters are united including Queen Hermione who is momentarily resurrected in the form of a statue erected to her memory by her friend, Paulina.

There are a number of minor roles played brilliantly by various actors which reminds me of the adage, “there are no small roles – – only small actors.”

Directed by Charles Askenaizer, this very capable Invictus company has no small actors. Everyone contributes to the story and their roles are capably performed.

The character of Camillo (Kim Pereria) is a bit of glue that ties Leontes and Polixenes together. In fact, he warns Polixenes of the King’s wrath and escapes with him to safety. Though a comparatively small role he is clearly no small actor. Pereria spoke every line with an easy clarity of meaning that demonstrated his mastery of this art form.

If you are unfamiliar or afraid of Shakespeare because you think it might be difficult to understand. Forsooth! Fear thee not, good soul. These most artful players do employ such mastery in their deeds and such clarity of tongue and fair enunciation, that, joined with the noble and skillful quill of the Bard himself, thou shalt have but little toil to grasp the tale and the deeds unfolding afore thine eyes.

Details: The Winter’s Tale by Invictus Theatre Company is at the Windy City Playhouse, 3014 W. Irving Park Rd., Chicago, through April 20, 2025. Running time: about 2 1/1 hours with one intermission. For tickets and more information visit www.invictustheatreco.com

Reno Lovison

For more reviews visit Theatre in Chicago

Guys and Dolls is no gamble

HIGHLY RECOMMENDED

Music Theater Works production of “Guys and Dolls” at the North Shore Center for the Performing Arts in Skokie is good old fashioned mid-century style, musical theater fun.

The story lampoons the idea of middle class morality, lambasting both the good guys and bad guys for taking themselves so seriously.

Nathan Detroit who runs a floating crap game somewhere around Hell’s Kitchen in Midtown Manhattan needs to raise a thousand dollars in order to secure a location for his upcoming event. To that end Detroit makes a bet with local big-time gambler and playboy Sky Masterson that Masterson cannot persuade “a certain doll” Sarah Brown, leader of the Save A Soul Mission, to accompany Masterson to Cuba. Therein lies the challenge and the conflict to be overcome.

The show itself does not take itself too seriously either. This is a series of vaudeville style song and dance numbers designed primarily to entertain, featuring strong melodies and clever lyrics in the Tin Pan Alley tradition by Frank Loesser. Its heavy misogynistic overtones using two dimensional characters speaking in an exaggerated Damon Runyon inspired vernacular, designed to emphasize perceptions of social class is all very much tongue-in-cheek.

Sky Masterson (Jeffrey Charles) and Sarah Brown (Cecilia Iole) are considered the stars of the show contributing the quieter and more intimate moments such as in the lyrical tune, “I’ll Know.”

However, it’s Nathan Detroit (Callan Roberts) and his long-suffering fiancé Miss Adelaide (Kristin Brintnall) who are the pivotal characters. It’s Detroit’s dilemma that fuels the action and his resistance of Adelaide with her quest for an idealized middle-class life that provides much of the show’s energy.

Kristin Brintnall was perfect on every level. The character of Adelaide has become a coveted role for female musical theater performers looking to demonstrate their comic range by utilizing an over-the-top Brooklyn accent plus a chance to sing “Adelaide’s Lament” and perform, with the Hot Box Girls, the campy burlesque numbers, “A Bushel and a Peck” as well as “Take Back your Mink.”

None of the characters can be described as being deep. The fun of the performances is in their easy to enjoy broad comedy. Nicely-Nicely (Cary Lovett) one of Nathan Detroit’s companions is another iconic role, featured in the racing form song “Fugue for Tinhorns” that opens the play and the show stopping “Sit Down, You’re Rockin’ the Boat” in Act Two.

Other characters like vice-cop Lt. Brannigan (Ian Reed), Sarah’s coworker Arvide Abernathy (Bob Sanders), local gambler Harry the Horse (Adam Raso) and Chicago gangster Big Jule (Andrew Freeland) all have their featured comedic moments.

Presented in the smaller of the two theaters at the NSC, the scale was perfect for this production making the stage seem full but not crowded. The simple set design by Ben Lipinsky strategically used the area above the streetscape for the orchestra against a huge skyline of New York which expanded the horizon, providing a sense of intimacy within a larger context.

This is the 45^th Season of Music Theater Works and if this first show is any indication of what is to come it’s going to be great. Every voice was perfection and the eight-piece orchestra lead by Kevin Disch was superb.

Guys and Dolls has been performed by countless schools, community theaters and professional companies over the past fifty-plus years but still seems to resonate with both young and more mature audiences mostly because the music is memorable and the show is fun.

Details: “Guys and Dolls” is presented by Music Theater Works at North Shore Center for the Performing Arts, 9501 Skokie Blvd, Skokie, through March 30, 2025. Running time 2 ½ hours with one intermission. For tickets and information contact Music Theater Works Box Office: (847) 673-6300 or visit their website MusicTheaterWorks.com

Reno Lovison

For more shows visit Theatre in Chicago

Joseph and his dreams

Devin Desantis sings “Close Every Door” in Act I of “Joseph…” (Photo courtesy of Marriott Theatre)

Somewhat Recommended

With music by Andrew Lloyd Webber, lyrics by Tim Rice and the Bible story in the Book of Genesis, there is arguably enough substantive material in “Joseph and the Amazing Technicolor Dreamcoat to produce a fine, upbeat musical without having to turn it into a high school style production.

Avelyn Lena Choi and Kaitlyn Davis

The story starts out well with Devin Desanti as a father reading bedtime stories to Avelyn Lena Choi. Then, it moves into the Bible story of Joseph with Kaitlyn Davis as narrator accompanied by Choi.

But the atmosphere changes when Joseph’s brothers turn into cowboys at a hoedown. Later, the girls in the ensemble become school cheerleaders. If you don’t mind these story interpretations you may like this production directed and choreographed by Amber Maknownow.

However, Desantis singing “Close Every Door” is a highlight of this production and Choi is a delightful sidelight of several scenes.

DETAILS: “Joseph and the Amazing Technicolor Dreamcoat” is at Marriott Theatre, 10 Marriott Drive, Lincolnshire, IL now through March 30, 2025. For tickets and more information visit Marriott Theatre.

Jodie Jacobs

For more shows visit Theatre in Chicago

I and You and a surprise ending

Caroline (Amia Korman) and Anthony (Jay Westbrook) in Citadel Theatre’s
“I and You” (North Shore Camera Club photo)

Highly recommended

Meet Caroline and Anthony, two teenagers in playwright Lauren Gunderson’s “I and You.” On stage now at Citadel Theatre in North Suburban Lake Forest, the show is way more than about two exceptionally bright teens who seem to have an English lit assignment on Walt Whitman due the next day.

Before you see the show, and you should absolutely go, know that Whitman was a 19th century American poet and essayist who wrote the famed and controversial poetry collection “Leaves of Grass” and favored free verse, realism and transcendentalism.

It is fine to have high expectations of this production. Perfectly fine-tuned by Director Scott Shallenbarger, beautifully interpreted by Korman and Westbrook, it is a well imagined tale by Gunderson, author of Citadel’s recently acclaimed “Silent Sky” production.

Caroline, confined to her room due to acute illness or condition, and Anthony who visits her there to supposedly finish a school project, debate Whitman, sickness, death, life and hope in the show’s 90 minute, three-act time frame.

You truly won’t predict the ending.

DETAILS: “I and You” is at Citadel Theatre, (in a school building) 300 S. Waukegan Rd., Lake Forest, IL now through March 23, 2025. Running Time: 90 Min. no intermission. For more information and tickets call (847) 735-8554.

Jodie Jacobs

For more shows visit https://www.theatreinchicago.com/

Another look at Hedda Gabler

Brookelyn Hébert, John Mossman, (Photo by Joe Mazza/Brave Lux).

Recommended

“Hedda Gabler” by Henrik Ibsen is a story of morality, manipulation and despair. Presented by Artistic Home at The Den Theater, it is a well-crafted story by one of the most influential playwrights of all time.

In “Hedda Gabler” Ibsen gives us a well-crafted story in two hours that reveals the inadvertent dangers of social pressure and a lifetime of pain. The primary themes on a macro level are morality and propriety. On an individual level we find manipulation and despair. It reaches its logical conclusion through events over roughly 48 hours.

Hedda Gabler (Brookelyn Hebert), is the self-absorbed, only daughter of a military officer. She has a grandiose sense of her own importance and a lack of empathy for others.

She feels trapped in a world of bourgeois values full of expectations she cannot control. It is her perception that the men around her seem to enjoy much more freedom to pursue their own public and private interests with less scrutiny and fewer consequences.

This is not entirely true however. Ejlert Lovborg (Dan Evashevsi) is the opposite side of the same coin. He is a gifted writer and deep thinker plagued by alcoholism with a penchant for uncontrollable debauchery. His reputation makes him prone to self-loathing. But tales of his exploits are a way for Hedda to vicariously participate in this apparent freedom

When challenged to join in, she retreats to the safety of social norms because she would not be able to bear public scandal and the rejection of society. It is this external pressure and inner conflict that drives her narcissistic behavior.

Her husband, Jorge Tesman (Todd Wojcik), is an academic consumed by his work and lost in a world of his own. Ejlert’s muse, Thea Elvsted (Ariana Lopez), is oblivious to the world around her and acts on her own impulses with little regard as to consequences.

These two are blithe spirits who seem to move more easily through life and Hedda hates them for it.

As a story of morality Judge Brack (John Mossman) should represent the moral high ground. But instead, he reflects the dichotomy and hypocrisy inherent within the illusion of propriety.

On the other hand, Aunt Julie (Lynne Baker) is the picture of the societal ideal. She is nothing but pure love and goodness whose very presence is anathema to Hedd, as Aunt Julie is the reflection of everything Hedda is not.

Though it is a bit of a spoiler, signs in the lobby alert patrons to acts of violence and themes of suicide. Through careful dialogue Ibsen moves us through the events that lead to the ultimate tragic conclusion involving the presence of a pair of dueling pistols.

Some see this as a story of sexual repression and changing values which is true, but Ibsen poses another question that is unfortunately still relevant today. How culpable is the person who puts a gun in another person’s hand? What is the responsibility of a bully who urges another person to take an action with tragic consequences? Is the narcissist responsible for their own actions or does society bear some of the blame for their feelings of alienation?

Ibsen skillfully walks us through this minefield of emotions and thought-provoking challenges. Directed by Monica Payne, this production featuring Mark O’Rowe’s adaptation, seems to lean a bit more toward a modern interpretation in acting style.

For the most part, the characters lacked a requisite formality toward one another that is representative of the repressed attitudes of the time. It is this very formal behavior that illustrates the level to which the greater society interjects itself into even the private lives of individuals.

It is partly this formality that Hedda finds so oppressive. Its presence is important to fully experience the level of Hedda’s rebelliousness. It is also important for it to be obvious in order to provide a contrast that will allow the audience to fully appreciate the times when people let their guard down and begin communicating more intimately.

I could sense that the actors had internalized this idea but it was not being overtly or physically expressed. This is a period piece that deserves a sincere reflection of the behaviors and nuances of the times, especially since it is integral to the message.

Rachel Lambert’s costumes regarding the ladies’ dresses were very nice and added to the period ambience. The striking set design of Kevin Hagan provided the right mood in terms of time and place. The deep blue monochromatic coloring seemed luxurious and lush. The diminishing concentric panels that framed the space lent a feeling of claustrophobia that enhanced Hedda’s feeling of being trapped. The repetitive nature initially made me think of a house of mirrors that gives you an uneasy feeling of infinite sameness and unknown escape.

If you are a lover of classic theater interested in experiencing an excellent story written by a master playwright this production offers a rare opportunity.

Details: Ibsen’s “Hedda Gabler” presented by Artistic Home is at The Den Theater 1331 N. Milwaukee Ave., Chicago through March 23, 2025. Tickets available at www.thedentheatre.com, or by phone at (773) 697-3830. More information at www.theartistichome.org

Reno Lovison

For more shows visit Theatre In Chicago

Fool for Love questioned at Steppenwolf

Nick Gehlfuss and Caroline Neff in “Fool for Love” at Steppenwolf Theatre

Somewhat Recommended

Full of potential, the set design by Todd Rosenthal is the highlight of this drama by playwright Sam Sheppard at Steppenwolf.

A sparsely furnished motel room dominates the stage. Along the perimeter an empty swimming pool, an imposing neon MOTEL sign, a massive telephone pole and bits of scrub grass suggest this is essentially the bottom of the barrel in the middle of nowhere somewhere at the end of the line.

The massive sky in the background adds to the idea that this is a story of two people stuck in a small room focused on their problems while there is a whole big world outside that really doesn’t care.

As the lights come up, Eddie (Nick Gehlfuss) is fussing with a bit of some kind of saddle gear as May (Caroline Neff) sits despondently at the edge of the bed.

Decked out in a western shirt, jeans, cowboy hat and boots and the ensuing dialogue all suggest that he is a semi-accomplished rodeo stuntman. She is a lost-soul living in squalor trying to disappear.

Eddie quickly reveals he has travelled more than two thousand miles because he cannot live without her. May lets him know she does not care and is not going to be sucked in once more to this on-again, off-again relationship that includes his wild dreams of a home in the country which she does not desire.

Outside, an old man (Tim Hopper) sits in a chair silently listening to their story unfold. Who are they? What is their previous relationship? Why is it so intense and volatile? Who is the old man?

These are the intriguing devices setup to draw us in, but I simply did not care about these ill-behaved, self-indulgent, self-obsessed characters.

I quickly felt they deserved whatever mess they were in, derived largely by their inability to communicate effectively with each other and to resolve their prior history. Move on.

Is this the best either of them can do? Apparently not because in a poorly developed subplot, Eddie is being pursued by an unseen “Countess” in a Mercedes limo who, in a fit of jealousy, has tailed him across half the country to destroy his pick-up truck and burn his horse trailer outside this remote dump. Really?

May is developing a perfectly normal dating relationship with Martin (Cliff Chamberlain), a respectable local man who wanders into this chaos for no good reason other than to bear witness to their madness and provide Eddie an opportunity to spill his guts about the secret behind the long-term affair.

In the end, Martin is left alone in the motel room presumably as bewildered as I am.

Since the truth involves the identity of the old man outside and is something of a spoiler, I will not reveal it here. After all it is the turning point of all the fuss and bother and I suppose might be or have been shocking at some point.

Making it more confusing is that the dialogue is vague about at what point May and Eddie understood the secret truth.

The purpose of the old man’s presence is unclear but he speaks to us of reality and fantasy. It is my opinion that the entire scene is an attempt for him to resolve the events that he put in motion through his own actions and misdeeds. He is the reality, the rest is his fantasy. The ambiguity might be related to the fact that old man does not really know if this relationship is resolved or not.

There is a sort of mythic tragic quality to the whole thing but not nearly as interesting.

The performances by this capable cast were fine. At best this is a mildly interesting character study involving two basically shallow people trapped in a relationship from which they feel unable to escape. It involves emotional highs and lows which might be useful in an acting class but which are not all that compelling as a full-blown production.

Forty years ago when it was first produced, this story might have been a bit more edgy, but I’m not sure it feels fresh today. Perhaps we are exposed to too much. I do not feel a sincere bond between Eddie and May or an intense compulsion to be together. There is no real heat. It is implied but does not have the fire.

Steppenwolf is the very pinnacle of dramatic theater in Chicago and I was excited at the prospect of seeing something thought provoking and memorable. Of all of the plays in the world including those of Sam Sheppard, why this? At seventy-five minutes it did not even satisfy as a night out.

If you are interested in the history and craft of playwriting, you might find some value, but I cannot in good conscience suggest that this is where my readers or podcast listeners should invest what might be limited theater dollars. Wait for a better production here, which will undoubtably come along soon.

Details: “Fool for Love” is at Steppenwolf Theater, 1650 North Halsted Street, Chicago through March 23, 2025. Tickets and other information available at steppenwolf.org or by calling (312)335-1650.

Reno Lovison

For more shows visit TheatreInChicago

Exceptional performance helps us know Frida Kahlo

Vanessa Severo is Frida Kahlo at Writers Theatre (Photos by Zach Rosing taken at Indiana Rep)

4 Stars

You don’t often see costume changes right on stage against a backdrop of apparel hanging on clothes lines. But then, you don’t often see a highly charged, exceptional, one-person performance such as the one that opened in Writers Theatre on Jan. 31, 2025.

It is Frida-A Self Portrait directed by Joanie Schultz and written and performed by Latino actress Venessa Severo.

You may start off thinking you know who Kahlo is. But by the end of the show you will also think you understand how this famed Mexican artist saw herself.

Upon entering the lobby look at the board near the entrance to the Alexandra C. and John D. Nichols Theatre, Writers’ main show space, to read the happenings and accomplishments chart during Kahlo’s short life.

Born July 6, 1907 to Guillermo, a German father, and Matilde, a Mexican-Purepecha-Spanish mother, she died July 13, 1954.

During that time she married artist Diego Rivera in 1929, painted, tried to carry their offspring (see tiny clothes on the line), painted, divorced, remarried Diego and painted.

The show’s premise is that Kahlo is being interviewed by a writer from an architecture magazine. (The house later became a museum)

You hear her explain her life but Severo also speaks to the audience. She shows her left hand with its missing fingers (a congenital disorder), as a way to express how she relates to Kahlo. (Kahlo had polio that affected her legs and also survived a bus accident that left her severely injured.)

However, by the show’s end you really do feel you have met Kahlo and better understand her life and how she saw herself.

BTW, in 1990 Kahlo’s painting Diego and I became the first work by a Latin American artist to sell for more than $1 million ( US dollars). In 2001, Kahlo becomes the first Hispanic woman on a U.S. postage stamp.

DETAILS: Frida-A Self Portrait, is at Writers Theatre, 325 Tudor Ct. Glencoe, IL now through Feb. 23, 2025. Running time: about 75 plus minutes. For tickets and more information Visit Writers Theatre or call 847-242-6000.

Jodie Jacobs

For more shows visit Theatre in Chicago