Category: Theater

King Hedley II at City Lit

Highly Recommended

August Wilson’s King Hedley II at City Lit

City Lit Theater Company is offering a most powerful presentation of King Hedley II directed by Manny Buckley. The play represents the 1980s chapter of August Wilson’s Century Cycle of works aimed at providing a portrait of African American life across the 20th Century.

Wilson brings us into the center of the tumultuous life of King Hedley II (James Lewis), his family, and friends at a crossroads that is the backyard of the house of the unseen matriarch Mama Louise.

The set design of Jeremiah Barr is perfectly evocative of an old house in a poor part of the city. It is here that the characters explore their life history and share their most intimate feelings, thoughts, and plans for the future.

King, recently returned from prison after serving seven years for murder, struggles to find his place in the world. Anxious to make up for lost time and unprepared for gainful employment he reverts to side hustles and criminal activity to fuel his oversized dreams. His wife Tonya (Isis Elizabeth) maintains their economic survival through an office job, doing her best to keep him on the straight and narrow.

It is impossible not to make a comparison to Shakespeare in Wilson’s work. The title King Hedley II itself echoes several of the Bard’s famous works. The tragic consequences of a protagonist haunted by the past, trying to understand his damaged family history while operating with a pervasive sense that society itself is broken and morally corrupt smacks of Hamlet.

Wilson has a command of the African American vernacular that like Shakespeare’s language is poetically colorful, nuanced and oddly familiar to the untrained ear. But it would be unfair to suggest that Wilson is simply mimicking Shakespeare. Wilson has a voice of his own but the work’s structure is classical with roots in Greek Tragedy as well. The important comparison between them is in the employment of themes that are universal and timeless, that speak to the very essence of humanity.

Brandon Boler as Stool Pigeon is both mystic and chronicler hoarding a copious collection of newspapers for the purpose of preserving history while acting as a kind of one-man chorus regaling us with a profusion of biblical verses that punctuates each of the play’s turning points, including the oft repeated refrain “God is a bad mutha f*cker” (translation: God is a supremely powerful entity).

It is clear that King feels trapped in a milieu where the odds seem perpetually stacked against him. Unable to envision a viable path forward, he possesses little social or economic capital beyond a deeply ingrained sense of honor and dignity, which he perceives as values that he is compelled to defend at any cost. Stories of violence and death permeate both his past and present, reinforcing a worldview shaped by hardship, desperation, and struggle.

The violence in King’s world has roots in pre-twentieth century mostly European aristocratic culture as well as the American South where a person’s reputation was often considered as important as property, wealth, or even life itself. If someone publicly insulted you, accused you of lying, questioned your courage, or impugned your family’s honor a duel was seen as the remedy. This tradition continued to be especially true when individuals felt they did not have access to the legal system for redress.

Over time, dueling and other forms of ritualized honor combat fell out of favor as governments strengthened legal systems and social attitudes shifted away from private violence as a means of resolving disputes. Yet the underlying impulse persists. We continue to hear news stories in which perceived disrespect escalates into deadly violence. In this sense, the world of King Hedley II reflects a much older tradition in which wounded pride and the demand for respect can prove fatal. Even today such acts often cut short the lives of promising young people and perpetuate a cycle of retaliation and needless loss.

King’s attempt to grow a flower garden from a packet of seeds in a patch of dirt speaks to his hunger for beauty and yearning to be a nurturer rather than destroyer of life but this too seems to be undermined and attacked at every turn.

Raised by Mama Louise, King’s birthmother Ruby (Andrea Conway-Diaz) is back in his life. When her former lover Elmore (Jelani Julyus) arrives, he brings with him a reputation for gambling along with additional information about family history.

Gambling and especially cheating becomes a metaphor for the way society has the system rigged in general and specifically in the eyes of King and his best pal Mister (Ernest Henton). The system cheats so they must cheat too.

King, Mister and Elmore make it clear that doing the right thing is honorable but it must be what is right for you. You decide what is right or wrong and act accordingly. It is often fuzzy logic and ambiguity of rules that leads to much of the violence in their world.

Wilson does not offer solutions but simply gives us a glimpse into a particular segment of African American life providing a slice of life that gives audiences some insight into a cultural experience that may not be familiar to everyone. It’s important to note that Wilson writes from an African American viewpoint but King’s way of thinking can be found in many disenfranchised young people from various ethnic traditions.

Aside from the outstanding talented writing of August Wilson, his words come alive through the efforts of this terrific cast who leave it all on the stage. There is nothing stilted or contrived. It’s as though you are sitting on your own back porch across the courtyard watching this drama unfold.

Details: King Hedley II is at City Lit Theater, 1020 W. Bryn Mawr Ave, Chicago, IL through November 29, 2026. Running time is 3 hours with one intermission. For tickets and information visit www.citylit.org or call (773)293-3682.

Reviewer: Reno Lovison

School “Daze”

 

Highly Recommended

Watching Eureka Day at Citadel this past weekend, the Tony Award winner for Best Revival in 2025, reminded me of my time as a school board member first at a suburban elementary district than at a high school district.

But. no matter how you feel about parenting or our schools you are likely to appreciate Eureka Day, on stage at Citadel Theatre in Lake Forest, IL, now through Oct. 11, 2026.

Written by Jonathan Spector, it is very funny while also enlightening as to some of the challenges that face school boards, public or private.

Directed tongue firmly in cheek by Scott Westerman who piloted “Misery” and “The Mousetrap” at Citadel, the play opens audience’s eyes to some of the expectations of educated parents and society in general.

Funnily or oddly enough considering what the current US administration’s health director has been arguing, the board of Eureka Day’s school has vaccination and communication issues on the agenda.

DETAILS: “Eureka Day” is at Citadel Theatre now through Oct. 11, 2026. Citadel is at 300 S. Waukegan Rd., Lake Forest, IL. , the West Campus of Lake Forest School District, For more information visit www.citadelheatre.org.

Jodie Jacobs

For more show reviews see Theatre in Chicago

 

 

 

Come from where?

 

Highly Recommended

Do you remember what you were doing when you heard (if old enough) what was happening 25 years ago in NYC and across the country?

“The borders of the United States are closed.” (That was what passengers of flights to the country were hearing as pilots came on planes’ loud speakers including the flight our daughter was on. She and a coworker were on their way back to California from a work trip to Europe. The date was 9/11.

Her plane landed in Edmonton, the capital of Alberta, Canada. Other planes, about 38 of them loaded with 7,000 passengers landed at Gander International Airport in the province of Newfoundland on the Atlantic coast.

And thus begins “Come From Away,” a much-nominated Tony Award musical by Irene Sankoff and David Hein now on stage at the Marriott Theatre, Lincolnshire. The show is based on some of the happenings of real Gander residents and visitors from an American Airlines flight.

It is a short show of about an hour and a half with no intermission but every minute of it is strong with relationship development and a sense of what Gander is like.

To get a feeling of the moods of the Gander residents and plane’s passengers check out the musical numbers’ titles such as “28 Hours/Wherever We Are,” “Phoning Home” and “I Am Here.”

The play doesn’t really showcase a particular actor because everyone cast plays an integral part. Instead, it reflects how a town and a flight’s passengers react to a totally unexpected happening.

Details: “Come From Away” is at Marriott Theatre, 10 Marriott Dr., Lincolnshire, IL now through Oct. 18, 2026. For more information visit Marriott Theatre, Come From Away. 

Jodie Jacobs

For more shows visit Theatre in Chicago

West Side Story reflects our problems

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Recommended

“West Side Story” echoes current immigration fear and division.

Music Theater Works (MTW) offers a faithful recreation of Leonard Bernstein and Stephen Sondheim’s now classic contemporary musical reimagining of Romeo and Juliet.

“West Side Story” is a romantic tragedy that tells the tale of young lovers Tony (Luke Nowakowski) and Maria (Isabella Ruano) caught in an impossible netherworld between two rival mid-1950s era New York City ethnic street gangs.

The Sharks are a Puerto Rican gang led by Maria’s brother Bernardo (Emmanuel Ramirez), while the Jets are local “white” kids of no distinct ethnicity, led by Tony’s best friend Riff (Conor Ripperger) who are trying to “protect” their neighborhood turf from the newly arrived immigrant group.

The innocent newcomer Maria meets Tony at a dance in the school gym where Riff plans to challenge Bernardo and The Sharks to a street fight. At this meeting the two leaders will agree on where the “rumble” is to take place and what weapons will be allowed. This sets up the context for the tragic outcome.

Music Theater Works remains true to their tradition of presenting musical theater that stays very close to the original production. There is nothing new or fresh here. This is not an updated version but rather a chance to see the show presented pretty close to how it was conceived by its creators.

That being said, “West Side Story” always felt like a sanitized theatrical view of urban ethnic conflict. I suspect neither Bernstein or lyricist Sondheim had any real first-hand knowledge of these groups. In fact, it is widely known that the story was first conceived by Arthur Laurents and Jerome Robbins as a conflict between Jewish and Irish immigrants on the Lower East Side of Manhattan before ultimately being carried to the other side of the island with an updated spin.

Interestingly this seems to prove that needless violence surrounding immigration fears, misunderstandings and petty power struggles are a continuing issue. Director Sasha Gerritson says, “[This is] what happens when fear and division prevent us from seeing one another’s humanity.”

It may be useful for audiences to understand the historical setting so that it might be enjoyed within the context of the period in which it was created.

“West Side Story” is not intended as a realistic drama but rather a stylized characterization of certain stereotypes utilizing traditional theatrical forms of song and dance to create a mood and express emotion. In this way it has strong roots in European opera and ballet with a mid-century urban vibe that incorporates elements of jazz and modern dance that was particularly cutting edge in the late 50s and early 1960s.

I’m certain Bernstein and Sondheim were cognizant of the challenges related to offering something contemporary while keeping it within the generally conservative comfort zone for audiences of the era. For instance, in the irreverent Act II number “Gee, Officer Krupke” Sondheim finds suitable alternatives to expletives such as the ending “Gee, Officer Krupke – KRUP YOU!”

The story speaks to the timeless human propensity of banding together tribally in an effort to preserve group identity and traditions; to maintain autonomy, and protect geographic territory. In this way “West Side Story” continues to resonate today as new generations struggle with conflicts arising from recently arrived immigrant groups coming with limited resources who seemingly compete for the same jobs and affordable housing as established residents, who then feel they may be displaced.

Affairs of the heart do not always recognize social, economic or political divides. The story attempts to make the point that individuals caught up in this turmoil are just trying to enjoy their life.

After the dance, below the fire escape outside her bedroom window, Tony expresses his love through the song “Maria.” This is a thinly veiled homage to Shakespeare’s famous Romeo and Juliet balcony scene where the two profess their mutual adoration and vow to meet again.

The proscenium arch and backdrop designed by Bob Knuth echo the play’s now‑iconic Broadway album cover, with its striking collage of black fire escapes set against a red background. The addition of a yellow glow augments the visual feeling of the smoldering heat of the lovers’ romance while the jumble of fire escapes isolates their intimacy within a chaotic urban environment.

Pivotal character Anita (Pauleth Jauregui) is married to Bernardo. The more experienced Anita expresses the realities of immigration against the idealism of Rosalia (Harmony Rose) in “America” a number that perfectly showcases the ideal partnership between Bernstein’s rhythmic musical talent and Sondheim’s playful use of language. Later Anita admonishes Maria in “A Boy Like That” urging her younger sister-in-law to “Stick to her own kind” further emphasizing the fears that underpin the story’s conflict.

Ruano and Nowakowski each bring a considerable operatic intensity in the upper range of their voices providing requisite emotion in songs like “Maria,” “Something’s Coming”, and “One Hand One Heart.” Sound designer Stephanie Farina should be able to help them out a bit on the lower end of their range where their power is a bit weak.

The haunting tune “Somewhere” is the musical basis of a ballet dream sequence that imagines the lovers have found their safe and happy place. In this production the vocal portion is begun by Shark girl Consuela (soprano, MJ Bueno) then joined by Jet gang member Baby John (Jaxson Smith) before the entire Company dressed in white joins in a powerful chorus.

Conductor Justin Kono leads the 22-piece pit orchestra through Bernstein’s challenging score providing the audience with a rare chance to hear a large musical theater ensemble. This is one of the unique and well appreciated aspects of Music Theater Works.

The dance numbers are, and always have been, integral to “West Side Story.” Originally conceived by Jerome Robbins the stylized movements with roots in modern jazz and ballet punctuate emotions in numbers like “The Dance at the Gym,” “Rumble,” “Jet Song” and “Cool.” MTW co-choreographers, Clayton Cross and Isa Ramirez with Alex Villasenor do a good job of keeping this company in step, staying true to the original vibe.

The inclusion of Spanish language supertitles above the proscenium with translations by David Serrano is a new addition in this production offering a nod to the multi-cultural aspect of the story and providing a welcoming experience for a wider audience.

Overall, this is an enjoyable, solid production in a great venue with strong musical and dance performances all around. “West Side Story” echoes current immigration fear and division.

West Side Story is presented by Music Theater Works at the North Shore Center for the Performing Arts, 9501 Skokie Blvd., Skokie, IL through August 30, 2026. Runtime 2 hours and 30 minutes with one intermission. For tickets and information visit MusicTheaterWorks.com or call the box office at 847.673.6300.

Writer: Reno Lovison

HAIR Past present or hope for the future?

 

Recommended

HAIR – is it a nostalgic romp or does it have relevance to a contemporary audience?

I’m struggling to look at HAIR with fresh eyes and consider if this theatrical offering can be understood or enjoyed out of context. On the surface it is a collection of musical vignettes performed by a ragtag group of nihilists. But who are they and what are they trying to say?

The original production, with book and lyrics by Gerome Ragni and James Rado and music by Galt MacDermot, opened in 1967 before moving to Broadway in 1968. It was a successful contemporary attempt to celebrate and explain the counterculture to a confused older generation grappling with the poorly understood perceived antics of their progeny.

I think it is interesting to note that Bob Dylan wrote, “The Times They Are a Changin’” in the fall of 1963 including the lines:

Your sons and your daughters are beyond your command. Your old road is rapidly agin’.

Please get out of the new one if you can’t lend your hand, For the times they are a changin’.

Dylan seemed to have a keen recognition of what was happening and premonition of what was to come.

In 1968, the leading edge of the baby boom reached adulthood, with roughly 12.5 million Americans being between the ages of 18 and 21. This generation had grown up under the shadow of nuclear annihilation and came of age during the height of the Vietnam War, when a mandatory draft policy placed every young man in that cohort at risk of being arbitrarily selected for combat service.

HAIR is a take on postmodern existentialist philosophy toned down a bit for a more mainstream audience.

It is not a story but rather an expression of anxiety, freedom, responsibility, authenticity, absurdity and individual human existence in conflict with collective society. In this sense a modern audience will find some correlation to the current times.

With roots in abstraction and dadaism HAIR is amorphous and messy but that is part of the experience. The best way to enjoy this production is to simply let it wash over you. Do not fight it but rather go-with-the-flow.

The loose backstory is that of Claude (Gavin Rhys), a member of a Hippie tribe who is conflicted over his willingness to completely join the rebellion by burning his draft card and defying the draft.

He and his “tribe” are immersed in the newly emerging trends of sex, drugs and rock & roll which would become one of the slogans of the time. All of this was a clear reaction to the repressive conservative norms of the previous generation. Hence the term counterculture.

Males wearing their hair long was the most iconic physical manifestation of the period becoming the very definition of the movement and the inspiration for this show’s title and song which celebrates the symbolic gesture.

The production opens with “Aquarius” sung by Dionne (Chosen Mitchell) and the Tribe. The lyrics set the tone for the idealistic and hopeful yearnings of a generation looking for meaning in life and a brighter future where “peace will guide the planets and love will steer the stars.

Looking to Astrology for the answer is a further rejection of traditional religion and the status quo. The song became something of an anthem for the time. Toward the end of Act One, “Be-In” a/k/a “Hare Krishna” is a nod to the influence of South-Asian Indian culture. While “Good Morning Star Shine” is yet another reference to being one with the cosmos.

“Donna” presented as the second song is a throw-back to earlier rock & roll love songs with a bit more edge setting up a contrast of what is to come with much more edgier sex songs like “Sodomy” and “Black Boys/White Boys.” These songs together with “Colored Spade” and “I’m Black” remind us that attempting to improve race relations was very much a part of the counterculture.

A defining feature of the time was the presence of mind-altering substances being embraced by large numbers of young people including marijuana and LSD used both in an attempt to expand consciousness and a way to manage anxiety. “Hashish” “Ain’t Got No Grass” and “Initials” set us up for Claude’s hallucinations in Act Two with “Walking in Space” “Abie Baby” and “The War.”

As for Vietnam which is of course a central theme, the song “Three-Five-Zero-Zero is a reference to U.S. propaganda suggesting that the Vietcong were sustaining 3,500 losses per month hence reducing human life impersonally to mere numbers. This would be difficult to understand without some reference.

Sheila (Catherine Rodriguez O’Connor) is the voice of experience in “Easy to Be Hard” lamenting how some people can be cruel and indifferent to the individuals around them even as they claim to care about the masses. Conversely Crissy (Amy Yesom Kim) sings a sweet song of naive love in “Frank Mills.”

Important and interesting is “Air” sung by Jeannie (Allyriane Huq) with Crissy and Dionne raising awareness of the then relatively new public concern about the impact of pollution.

In the end this is a celebration of youthful idealism confronting the realities of life within a particularly unique historic period.

As humans we are individuals who are also part of a collective, expressed by Claude in “I Got Life” and “Where Do I Go.”

Many of the themes are universal truths related to the human experience while some are very specific to the time. “Let the Sun Shine In” is both tragic and uplifting as life and growth do not occur without pain and loss.

The Kokandy cast, as always, delivers on vocal quality and has put their own spin on this now classic musical. Costumes by Rachel Sypniewski are reminiscent of the period but not derivative opting to embrace the ideas of eclectic individualism over period realism. The same is true of the make-up design by Syd Genco as well as hair and wigs by Keith Ryan.

I loved the concept behind the scenic design of Eleanor Kahn featuring plain light toned wooden risers emblazoned with graffiti which again included both vintage and contemporary slogans. It was fun that the audience was invited to add their own personal touches during the intermission.

I guess I opted in this review for some context by providing a kind of cheat sheet that might make this a bit more enjoyable for audience members who may be a little confused about what is happening, especially if not familiar with the lyrics.

This was written for the audience of the time and many references were just simply understood. At this point there are a few numbers that can be cut in order to bring the overall runtime down maybe 15 minutes or so.

For those looking for a simple nostalgic experience, this is more of an interpretation than a recreation. For younger audience members you’ll enjoy the retro vibe and find relevance in the message.

DETAILS: HAIR by Kokandy Productions is at Chopin Theatre, 1543 W. Division Street, Chicago, IL through September 13, 2026. Runtime is 2.5 hours with one 15-minute intermission. For tickets and information visit kokandyproductions.com

Review by Reno Lovison who auditioned for the Chicago cast in 1969 alongside Mandy Patinkin. “Neither of us got hired.”

For more reviews visit Theatre in Chicago

—

A Little Light Music

 

Recommended

With music and lyrics by Stephen Sondheim and book by Hugh Wheeler, audiences can expect a fine evening out at Marriott Lincolnshire for “A Little Night Music.”

This is a period piece taking place in Sweden sometime around the late 1800s to very early 1900’s.

You’ll meet Madame Leonora Armfeldt (Carmen Roman), an aging former courtesan, and granddaughter Fredrika (Olivia Grace O’Sullivan).

Then, we meet Fredrik Egerman (Andrew Samonsky), a successful lawyer and his new wife, Anne (Addie Morales), a young, naive, inexperienced girl whom we learn near the end of the first act is still a virgin even though they have been married for months.

You’ll also meet Fredrik’s son, Henrik, (Eldon Warner Soriano) a seminary student who is older than his stepmother.

Fredrik surprises Anne with tickets to a show starring Desiree Armfeldt (Alexandra Silber), an actress whom Anne admires and who, unbeknownst to Anne, Fredrik already knows.

At Desiree’s apartment Fredrik encounters another of her lovers, Count Carl-Magnus Malcolm (Alan H. Green).

To make relationships even more complicated Carl-Magnus is married to  Countess Charlotte whose young sister, Marta, is Anne’s friend.

Anne and Marta

The first act ends with the characters taking off for a “Weekend in the Country,” an upbeat tune.

You’ll have to see the show to know what happens then.

Directed by Nick Bowling and choreographed by Katie Johannigman, “A Little Night Music is a fun, little night out.

DETAILS: “A Little Night Music” is at Marriott Theatre, 10 Marriott Dr., Lincolnshire, IL. now through Aug. 9, 2026.

Jodie Jacobs

For more show reviews visit Theatre in Chicago

World Premiere of a new musical classic

 

Highly Recommended

Scaramouche is a stock character in Italian commedia dell’arte who is seen as an unscrupulous, boastful, and often cowardly rogue whose swagger collapses the moment real danger appears.

This City Lit world‑premiere musical adaptation of Scaramouche by Kingsley Day and James Glossman based on Rafael Sabatini’s novel is set in 18th‑century France on the eve of the French Revolution.

After the death of his friend Phillipe (Connor Ripperger) at the hand of the Marquis de la Tour (Kent Joseph), Andre‑Louis Moreau (Ethan Smith) boasts of retribution yet fails to follow through.

Convinced by his cousin Aline (Laura Michele Erle) that he is in mortal danger, Moreau flees, joining a troupe of travelling actors where he in fact takes on the role of Scaramouche.

What ensues is a series of political intrigues and personal interactions that depicts Moreau’s life journey ultimately bringing him to understanding his true self.

In addition to his contribution as co-author, Kingsley Day has done a terrific job with the music and lyrics. The overall style harkens back to a more traditional approach. There are no big soaring production numbers prevalent in contemporary musicals but rather a staggering 30 or so creative melodies and recitatives that feature surprising harmonies that seem perfectly at place in the story’s time period. This is most notable in “A Family Reunion” sung as a four-part vocal quartet in counterpoint reminiscent of a Mozart opera. “Entitled to be Happy” sung as a charming duet by Aline and Moreau sets the tone of their relationship.

Demonstrating a prodigious vocabulary, Day shows he has done his research into the subject matter and lexicon of the period, pairing a variety of complex words in unexpected ways with wry wit and delightful comic effect.

A familiar figure in the Chicago theater scene, Day reveals his considerable acquaintance with Gilbert and Sullivan in several of the numbers, while in “A Brand-New Play” he provides an homage to the rapid-fire patter song of Kurt Weill and Ira Gershwin made famous by Danny Kaye’s rattling off the names of fifty or more Russian composers. In this case a shorter list of French playwrights. Adding to the humor is Day’s tongue-in-cheek reference to himself with Moreau explaining the secret to writing a good play is to borrow from the best. Which incidentally Day has accomplished brilliantly.

Music Director and accompanist Kevin Zhou with the assistance of Tyeese Braslavsy and musicians Chad Polk, Aaron Kaplan, Matthew Beck, and Adam High introduced this new work admirably including the use of woodwinds and strings to augment the period effect.

The vocal performances of the company were all excellent however about half the cast seemed to lack the vocal power needed to really push their numbers to full effect. This was due in part to the interesting vocal range demanded by Day’s compositions.

The lack of amplification was a factor, which is indeed a feature of modern theater and musical vocal performance generally. I understand that in the small space of the City Lit theater it seems unnecessary but in fact the room does not have ideal acoustics especially when singers are competing against live instrumentalists. Many of the low notes got lost and some of the endings never got the full-bodied top notes they deserved. The performers were hitting the notes but the volume was often quite soft. This is more of an observation than a criticism. It did not detract from our enjoyment of the performance but both my companion and I had the same experience.

Smith as Moreau sets the pace managing the demanding role well, being onstage nearly all the time and participating in ten out of the fourteen musical numbers in the first act.

Each of the supporting actors played multiple roles with perfection beginning with Connor Ripperger (I remember as Pippin at MTW) who has a good strong voice and considerable stage presence. The same is true of Kent Joseph whose stature and voice gave a commanding bearing to The Marquis and a devilish characterization as a member of the theater troupe.

Henry Michael Odum who appears in three roles as uncle; leader of the acting troupe; and fencing master are all skillfully related as they are all mentors to Moreau. Odum gives each a slightly different supportive twist.

Erle as the ingénue Aline and Alicia Berneche as Madame provided full throated performances that helped to bring some appreciated vocal dynamics to the production.

India Huy was perfectly coquettish as love interest Climene while Shea Lee was a scene stealer in her comic portrayal of the elderly maidservant.

The trio of “Royalists” (Kent Joseph, Rushil Byatnal, Ed Rutherford) had their moment in the perfectly evil “Robin Redbreast.”

The set design of Trevor Dotson with raised section and projected background, providing a screen for the onstage musicians, was perfectly suited to the small confines of the City Lit performance area.

The lighting effects of Jackson Mikkelsen was very effective in managing the mood and offering a certain muted vintage quality to the production.

Costumes by Jennifer Mohr were appropriate including the use of scarves and sashes that added dramatic flair to the action.

Physical movement is constrained by the available space but the sword fighting was very well managed and the Ensemble movements of the acting troupe with its homage to Fosse was very funny.

Director Beth Wolf did a tremendous job pulling it all together. The press opening performance was flawless. This cast was well prepared, ready and on-pointe in every way.

This may not have the scale of the modern blockbusters and might seem a bit old-school to some but it is a well-conceived, well written production with a good balance of drama and humor that includes interesting and approachable music and lyrics wrapped in an interesting story. Don’t miss it.

Scaramouche is presented by City Lit Theater Company at 1020 W. Bryn Mawr, Chicago, IL 60660 (on the second floor of the Edgewater Presbyterian Church). Runtime is about 2 hours with one 15-minute intermission. Visit citylit.org for tickets and information.

Reviewer: Reno Lovison

Faith and love in The Sugar Wife

 

Highly Recommended

Repression, Power, and Renewal

A Quaker couple living in Dublin, Ireland circa 1850, invite a former enslaved African-American woman and her companion to spend ten weeks in their home while touring the British Isle promoting the abolitionist movement.  Their visit concludes on the spring equinox bringing a promise of rebirth and new beginnings.

The Sugar Wife is a story of devotion in all of its manifestations including faith, love, and charity — as well as devotion to work and artistic expression. The pivotal titular character is Hannah (Annie Hogan) whose husband Samuel Tewkley (Todd Wojcik) is a sugar and tea merchant.

On the surface the couple are devoted to their religion and to each other living a comparatively comfortable affluent life while maintaining a superficially austere façade consistent with Quaker ideals.

Hannah endeavors to offset their privilege through myriad good deeds and charity work represented here primarily though her visitations to Martha Ryan (Kristin Collins) a syphilitic sex worker who is literally on her deathbed.

Having visitors for nearly three months brings a level of intimacy that causes each person to reveal much of their inner character, exposing painful desires, repressed passions and secret motivations.

Sarah Worth (Ashayla Calvin) the formerly enslaved woman is accompanied by Alfred Darby (John LaFlamboy) a privileged white man who bought her freedom. Darby an amateur photographer, engaged in the nascent art form, acts as her manager, arranging her speaking opportunities, though it is apparent their relationship is more complicated than it appears on the surface.

Integrity is the alignment between what you believe, what you say, and what you do and is a key element with each character. Keeping this balance is a constant human struggle. Many people make bargains with themselves to justify actions that are in conflict with their ideals, some repent and other simply surrender to their baser instincts.

Weaving throughout the story is a theme of sexual power represented by a slave, a prostitute, and a woman in an unhappy marriage. But this theme is not simply one of domination but rather one of symbiosis as the players leverage their power to maintain their own survival and meet their own objectives.

In the end, with the coming of spring, the question becomes whether they can each emerge from their cold dark wintry past and find a new way forward.

The U.S. Premiere of The Sugar Wife written by Elizabeth Kuti and presented by Artistic Home is expertly directed by Kevin Hagan in the round providing a particularly intimate experience.

The exceptional cast is headed tenderly by Annie Hogan. In spite of his character’s personal failings Todd Wojcik portrays Samuel with a sympathetic and oddly endearing quality that adds pathos to his inner conflicts.

I wish Ashayla Calvin as Sarah Worth had been given more to do. Her understandable detachment from the others makes her feel present mainly to motivate them – – though her oratory vignettes were powerfully delivered giving her notable talent a few welcome opportunities to shine.

John LaFlamboy portrayed Sarah’s companion Alfred Darby with an undercurrent of danger that keeps you wondering about him while Kristin Collins as the bedridden Martha injected a bit of dark comic relief delivering a defiant air that suggested she was not giving up the ghost easily.

This is a provocative and intellectually engaging examination of integrity and interpersonal relationships within the context of rigid social constraints and gender expectations of the 19th century.

Details: The Sugar Wife is at Theater Wit, 1229 W Belmont, Chicago IL through May 3, 2026. Runtime is about 2 ½ hours with one intermission. For information visit theaterwit.org or call 773-975-8150.

Review by Reno Lovison

For more reviews visit Theatre in Chicago

 

August Wilson back at Goodman

 

Review: MA RAINEY’S BLACK BOTTOM at Goodman Theatre Image

Highly Recommended

Disappointment leads to despair

Picture four blues musicians sitting in a recording studio’s rehearsal hall examining their lives while waiting for the prima donna to perform. But be patient. The show is the very interesting, highly recommended Ma Rainey’s Black Bottom by August Wilson now on stage at The Goodman.

Ma Rainey, perfectly interpreted by E. Faye Butler, is the leading artist of a struggling Chicago based blues label owned by brothers Irvin (Marc Grapey) and Sturdyvent (Matt Decaro). The band consists of pianist, Toledo (Kelvin Roston); bassist, ‘Slow Drag’ (Cedric Young); trombone/guitar player, Cutler (David Alan Anderson); and horn player Levee (Al’ Jaleel McGhee).

Ma’s personal entourage also consists of her nephew,  a stuttering singer named Sylvester (Jabari Kaliq) and her young lover, Dussie Mae (Tiffany Renee Johnson).

Set circa 1927 at the height of the Great Migration, this tragic drama is rooted in personal trauma, systemic racism and economic exploitation. In true blues tradition each man reveals his inner self through storytelling. In the process there is a good amount of convivial, often dark, humor born of a recognition of shared experience with an undercurrent of shared pain.

The ambitious Levee is the pivotal character, representing a youthful progressiveness at odds with Ma’s traditional approach and controlling nature. He is also a subject of amusement for his more seasoned and philosophical bandmates who simply want to get on with their work at this point in their career.

Ultimately, Levee is overcome by personal trauma and disappointment. His recent acquisition of a new pair of stylish shoes becomes a symbolic component in the actions about to take place. They are the physical manifestation of his upward mobility, his hunger for attention and represent the persona of affluence and success he wants to convey to the world around him.

Written in 1984 this is clearly reminiscent of many great literary tragedies. Wilson understood that he was crafting an African American story rooted in Black experience, yet one that would be witnessed by white audiences as well.

His mastery of African American vernacular, speaks directly to Black audiences with familiarity and affirmation, while offering white audiences a window into a cultural world they may not know. In doing so, Black audiences find recognition and validation while white audiences gain insight.

Expertly directed by Chuck Smith with music direction by Harry Lennix, this is apparently a labor of love that manages the production with an honesty and care while paying tribute to the sensitivity of Wilson’s material.

The multi-level set design by Linda Buchanan emphasizes the dominance of Irvin and Sturdyvant as they observe the performers from their elevated vantage point in the control room. From there they bark commands, provide food and dole out the pay.

Faye Butler plays Ma with requisite bombast and over-the-top energy that makes her larger-than-life character unmistakably in command of her domain while belting the blues with an authority that proves she has the chops to back-up her formidable presence.

McGhee as Levee does a great job of methodically peeling away each layer of the onion slowly revealing his inner torment. Fellow musicians Young, Roston and Anderson display a measured maturity in their easy banter that makes me feel like I’m eavesdropping in a neighborhood barber shop with echoes of tales that are reminiscent of ancient fireside rituals.

Details: Ma Rainey’s Black Bottom by August Wilson is at The Goodman, 170 N. Dearborn, Chicago through May 3, 2026. Runtime about 2 and a half hours with one intermission.  For tickets go to GoodmanTheatre.org/MaRaineys visit the Box Office or call 312.443.3800.

Review by Reno Lovison

For more reviews visit Theatre in Chicago

On the horizon

 

(See below) William Shakespeare (comp from Chandos post)

Info and shows

Eggs 

There used to be scores of egg hunts sponsored by organizations, schools and neighborhoods. So it was nice to hear of one sponsored by the Prairie District Neighborhood Alliance. The group hosts its 19th Annual Easter Egg Hunt at Chicago’s Women’s Park and Gardens April 4, 2026, from noon to 2 p.m. The Easter Egg hunt will begin at 12:15 p.m.

What to know: The egg hunt is for ages 12 and younger with hunt areas divided by age. Also, participants are to bring their own basket and be accompanied by an adult.

And more

Partners of the event include the Chicago White sox and Chicago Rec Sports which will donate hundreds of toys. The White Sox organization will give away 500 free game tickets. 

Activities: Easter Bunny visit, petting zoo, face painters, balloon artists, sports games and hundreds of prizes. Noshes: Easter cupcakes, cookies and other refreshments. 

The Chicago Women’s Park and Gardens is at 1801 S. Indiana Avenue,  Chicago.  Admission is $18 for children 1-12 and $10 for age 13 years to adults. No charge for children under one year old. Tickets are required.   For more information or to purchase tickets, visit the event website:  http://southloopeasteregghunt.com/ or call (312) 401-2688.

 

Shakespeare and more

Shakespeare’s Birthday is celebrated by of course – The Chicago Shakespeare Theater in CST’s three venues:  Jentes Family Courtyard Theater, The Yard, and the Carl and Marilynn Thoma Upstairs Studio with productions running simultaneously for only the second time in the Theater’s history.

The Merry Wives of Windsor, the world premiere play Fault, and Indian Ink Theatre’s Mrs. Krishnan’s Party will jointly run April 18–26 with a celebration of Shakespeare’s 462nd birthday on April 23. 

“These three productions express … what an American Shakespeare company could be: entertaining and engaging tellings of Shakespeare’s stories alongside exciting contemporary work, mixed in with some of the best theatrical events from around the world,” said Artistic Director Edward Hall.

Jodie Jacobs

For more theater info visit Theatre in Chicago