Musicals – Chicago Theater and Arts

Independence brilliantly portrayed

L-R Tyrick Wiltez Jones as Samuel Adams, Lucy Godinez as Richard Henry Lee and Richard R. Henry as Benjamin Franklin in “1776” at Marriott Theatre. (Photo by Liz Lauren)

Four Stars

The first act of “1776” at Marriott Theatre merely sets the scene for this Broadway hit that has music and lyrics by Sherman Edwards and book by Peter Stone. But then comes Act II.

It’s magnificent. Audiences might wonder what there is to say about the Declaration of Independence, a document written by Thomas Jefferson of Virginia, modified by some of the delegates to the Continental Congress and whose wording we presumably learned in elementary school. But under Nick Bowling’s direction the scene comes alive with terrific acting by a well-chosen cast and Tanji Harper’s choreography.

Marriott’s in-the-round stage is perfect for the scenery design by Regina Garcia. Not least is the period’s costume design by Theresa Ham.

In one corner of the stage, the names of the original 13 colonies are listed as delegations on a board, ready for a vote. They are the members of the Continental Congress who are meeting in Philadelphia at what would become knowns as Independence Hall.

A date calendar is hanging on a post at the opposite corner. Congressional custodian, Andrew McNair, (played by Karl Hamilton) usually brings in liquid refreshment for the delegates and changes the date. It’s countdown time.

As mystery books often say when a situation sounds almost easy – “what can go wrong?” After all, we know the outcome.

L-R Tyrick Wiltez Jones as Massachusetts delegate John Adams confronts Heidi Kettenring as the staunch British loyalist and anti-independence voter from Pennsylvania named John Dickinson. (Photo by Liz Lauren)

Early on, the delegates vote. Coming from different backgrounds and different viewpoints, six are for independence from Great Britain and six appear to be against, with New York politely passing on the vote.

However, even if a majority is obtained, John Dickinson throws out what may become the most important obstacle to overcome. Dickinson says the vote for independence must be unanimous.

Kudos to popular Chicago theater actor Heidi Kettenring who shoulders the vociferous Pennsylvania delegate John Dickinson’s anti-independence stance. She does her usual exceptional acting in a tough role that makes no friends among the Marriott audience.

Wiltz, who is making his debut at Marriott, may not be familiar to its audiences. He has mostly been in regional productions and on Broadway. But after his commanding performance as the “difficult” John Adams, he is likely to be back.

Audiences may remember Richard R. Henry in Marriott’s Man of La Mancha.” As a Massachusetts delegate, he delightfully replicates Ben Franklin’s humor.

Chicago and Regional actor Erik Hamilton returns to Marriott as the brilliant but reluctant writer, Thomas Jefferson, a role he underplays rather than dominates.

Mathew Hommel as South Carolina delegate Edward Rutledge becomes a pivotal vote for independence but will be remembered in this production for his “Molasses to Rum” song rendered in a “Les Mis” operatic style.

A note has to be included on Jay Westbrook as the Courier who quietly, sadly sings “Momma Look sharp.”

Fall 2024 is developing as a full theater season of excellent shows. However, Marriott Theatre’s “1776” should definitely be on that “don’t miss” list.

Details: “1776” is at Marriott Theatre, 10 Marriott Drive, Lincolnshire, IL now through Oct. 13, 2024. For tickets and more information visit Marriott Theatre.

Jodie Jacobs

For more shows and reviews visit Theatre In Chicago

Take a spin on this Carousel

Center, Maliha Sayed and Conor Jordan with cast of “Carousel.” (Photo by Brett Beiner)

Highly Recommended

Named the “Best Musical of the 20th Century” by Time Magazine, “Carousel” comes to life once again in the Music Theater Works production at the North Shore Center for the Performing Arts in Skokie.

With music by Richard Rogers and book and lyrics by Oscar Hammerstein II, this Golden Age classic continues to wow audiences with its beloved songs and heartfelt story.

Directed by Sasha Gerritson and choreographed by Andrew Waters, “Carousel” stands the test of time with such popular songs as “If I Loved You,” “You’ll Never Walk Alone,” “June is Busting Out All Over” and other favorites

Music Director Michael McBride conducts a live orchestra of 17 and a cast of more than 20 actors.

With plenty of New England warmth and charm, “Carousel” tells the love story between carnival barker Billy Bigelow and millworker Julie Jordan. When the jealous carousel owner fires Billy, he’s left without a job to provide for his family. He turns to crime and the results are tragic. Carousel is his story in search of redemption from beyond.

From the moment the curtain rises, Music Theatre Works has created an innovative approach to this timeless show with a fresh interpretation. It’s this new perspective blended with traditional tunes, enchanting, high-energy choreography, and a poignant plot that keeps the audience engaged.

The staging of the carousel is a remarkable feat showcasing the inspiration of scenic designer Shane Cinal.

Maliha Sayed as Julie has a beautiful voice and wistful expression that makes the audience fall in love with her, cheering her on. Conor Jordan as Billy Bigelow is handsome with a powerful, looming voice that carries the show.

What was unexpected were the strong performances of the supporting characters such as Will Koski as Enoch Snow who made the stage come alive with his operatic voice. Alicia Berneche as Nettie Fowler was excellent with powerful vocals that led the cast in the big musical numbers.

Kudos to costume designer Rachel Sypniewski for her colorful, authentic period costumes.

Not only was “this a real nice clambake,” but a spectacular show as well!

Next up for Music Theatre Works is “Little Shop of Horrors” from October 24 to November 17 and “Legally Blonde” from December 19 – December 29, 2024.

Details: “Carousel” is at the North Shore Center for the Performing Arts, 9501 Skokie Blvd. in Skokie. Running time: 2 hours and 45 minutes with one intermission. For tickets and information, call the Music Theater Works box office at the North Shore Center, 847.673.6300 or visit musictheaterworks.com.

Mira Temkin

For more shows visit Theatre In Chicago

Uncovering the Declaration of Independence

The scene is Independence Hall in Philadelphia. The players are the Founding Fathers of the United States of America who debated then actually unanimously adopted the Declaration of Independence in 1776. If that signing sounds easy or like a foregone conclusion, think again.

The musical “1776,” with music and lyrics by Sherman Edwards and book by Peter Stone, is a time-travel journey back to colonial Philadelphia when statesman/attorney John Adams led the movement to have and sign a Declaration of Independence.

Premiering on Broadway in 1969 and winning three Tony Awards, “1776” is reprised at Marriott Theatre in Lincolnshire, August 21 (pre-shows) opening August 28 and running through October 13, 2024.

To get a glimpse at what to expect we did a short phone interview with its Marriott director, Nick Bowling, founding Artistic Director of TimeLine Theatre Company and a frequent Marriott Theater director.

In Marriott’s press release, you mentioned “the feeling in the room” which reminded of Lin Manuel’s song in Hamilton about where the action took place. Can you expand on that?

“Yes, the room where it happened. I was recently there – at Independence Hall. It’s a small room. It’s supposed to be done like it was back then. But in the show, it’s done more in the spirit of the way it was,” said Bowling.

“Weve added voices to that room and the casting is more diverse than what there was. It reflects modern thinking. But you see the chamber. And you hear the issues – States Rights, Federal Rights, Civil Rights,” he said.

2.What in the show do you think will surprise people?

“The issues discussed were the beginning of the issues that would reverberate through the history of our country,” said Bowling.

3. I think I remember (from a previous show) that Southern slave holding delegates were reacting differently to the democratic ideas put forth by other delegates and that mattered as to getting them to sign the Declaration.

“Northern delegates were also slave owners. The delegates all agreed to not consider slavery as an issue in the Declaration of Independence.” he said.

“What you learn is about the characters who played a role,” Bowling added.

He pointed out that the characters were not necessarily the way history generally portrayed them. “They were people. There were brilliant minds on both sides.”

4. I know the show had a couple of national tours but I wonder do you think this show would be applauded the same way in the deep South today as when it first came out in the 60’s.

“Yes. It would aloso play well in the South. It is funny and romantic. John Adams is the main character. But he is difficult, and slavery is a bargaining point,” Bowling said.

“You have different points of view – conservative and liberal. It reflects the culture of the time and when it opened in the 1960s it still spoke to us then and today,” he said.

“It’s about compromise. It’s about the signing of the Declaration of independence. It’s about Democracy. We see what each person, each group, is willing to give up.”

For show tickets and more information visit Marriott Theatre.

Jodie Jacobs

Do not expect the movie or book in ‘Midnight in the Garden of Good and Evil’ – The Musical

Mary Ernster, Christopher Kelley, Sean Donovan, Andre Malcolm, J. Harrison Ghee, DeMarius R. Copes, Jarvis B. Manning Jr. and Wes Olivier in "Midnight in the Garden of Good and Evil" at the Goodman Theatre. (Liz Lauren)

Mary Ernster, Christopher Kelley, Sean Donovan, Andre Malcolm, J. Harrison Ghee, DeMarius R. Copes, Jarvis B. Manning Jr. and Wes Olivier in “Midnight in the Garden of Good and Evil” at the Goodman Theatre. (Photo by Liz Lauren)

Highly Recommended

It would be a crime to miss this.

Without a doubt “Midnight in the Garden of Good and Evil” is the best musical I have seen in years. You will be hearing a lot about this for some time as word spreads of this world premier production currently at the Goodman Theater.

The action begins, revealing a spectacular Spanish moss draped dimly lit atmospheric set design by Christopher Oram worthy of a grand opera.

We come to learn in the opening number “Bonaventure” that we are in an aged cemetery in Savannah, Georgia. Voodoo practitioner, Minerva (Brianna Buckley) wails a ghostly incantation as various figures move silently among the monuments.

As the lights become full, the tone shifts. It is daylight and Jim Williams (Tom Hewitt) continues the song explaining where we are and introducing us to some of the quaint customs of Savannah society including the reverence for the past and importance of social drinking.

Over the course of the play, we learn that Jim Williams is a gay antiques dealer and nouveau riche restorer of homes. His pride and joy is the restoration of Mercer House, a stately but at one point quite neglected derelict mansion built by the great-grandfather of famed composer Johnny Mercer.

The Mercer connection is interesting because “Midnight in the Garden of Good and Evil” is based on a true story. In fact, it is a “true crime story” that interweaves high society with a number of alternative lifestyle individuals and others considered outside the elite social strata including a gay man and his “white trash” lover, a drag queen and an African American debutante.

The 1980s era high society Savannah ladies led by Emma Dawes (Sierra Boggess), fond of mentioning her invitation to the White House, intersect with the rest through Williams and a mutual love of restoring old Savannah homes.

This is not a whodunnit. We come to learn soon enough who did it. Rather this is a story of restoration. Not only the restoration of houses but also the quest to restore one’s life and indeed, one’s soul.

The parallel story is that of “The Lady Chablis” (J. Harrison Ghee), a popular drag queen who treats the audience to a very enjoyable and frank performance at “The Shed” where she is the headliner.

Lady Chablis loses her job after a particularly bawdy performance, setting her on a quest to restore what she perceives to be her deserved station in life.

The story is not too complicated. It’s there to move the action, and this show is all about the action presented as a series of vignette performances that are more like Burlesque scenes, any one of which would wow a Las Vegas nightclub in the 80’s.

Keep in mind that this is a period piece that takes place in a very particular place at a very specific time. Some might argue that the portrayal of LGBTQ characters are somewhat two dimensional, even stereotypical, which is how they generally were portrayed at the time. But at least in the 1980s they were beginning to be seen and their stories could begin to be presented to a mainstream public.

Perhaps in the New Millennium we are more enlightened, but for some, indeed many, perhaps not.

The audience’s sympathy for Williams and appreciation for the talent and struggle of Chablis means we are breaking through and seeing these individuals as real people not simply cardboard cutouts.

Jason Robert Brown’s music and lyrics are phenomenal and inspired, harkening back to the Great American Songbook and jazz stylings of the twentieth century.

One lyric describing Savannah says something like “If your idea of an auntie leans toward antebellum . . .” is vintage tin pan alley. Perhaps inspired by Mercer and others there are notes of Sondheim as well.

But this work is not derivative. It is fresh and unique. Each number is expertly performed by arguably one of the most impressive performance companies to grace a Chicago stage in recent memory. From Ghee and Hewitt at the top through to every swing dancer, each performer is top-notch. When this show moves to Broadway which it undoubtably will, it should run for years.

When Buckley as Minerva begins her incantation, we know this is going to be interesting but when Hewitt begins his part of “Bonaventure” with his amazing voice we know we are in for something special.

Likewise with Ghee as Chablis. When she does her number “The Shed Shack” buckle up because we’re going on an unexpected ride. “Let There Be Light” in the first act is a show stopper and “Butterflies” was a touching and fitting finale.

Boggess as Dawes offers much of the comic relief but her impressive soprano gives her songs added dimension that takes them beyond novelty numbers.

“Lift Her Up” led by Bobby Hutchins with dance performance by ingénue Lavella Cole and company is likely to become a staple at every cotillion, bat mitzvah, sweet sixteen, graduation and some weddings.

Congratulations to The Goodman for assembling such a high caliber cast of performers and production team from the set design (including a spectacular chandelier), lighting, music, costumes (Toni-Leslie James) to the outstanding choreography of Tanya Biri-Torres aided by incredible swing dancers who were able to execute their moves – all brought together in a seemingly effortless fashion by Director Rob Ashford with Musical Direction by Thomas Murray.

Opening night was one to remember. John Berendt, the author of the best-selling book, was on hand for the curtain call and to see this new musical version written by Taylor Mac come to life. The excitement of the evening spilled out into the street as people chattered about what a great time this was.

This show runs nearly 3 hours including a 15-minute intermission. Likely they will find a few more cuts and trims as they see what works and what doesn’t but I would hate to be the one making those decisions. Every number is a gem.

Details: “Midnight in the Garden of Good and Evil” is at The Goodman Theatre, 70 N Dearborn St, Chicago, IL 60601, extended through August 11, 2024. Running time: about 2 hours, 45 minutes with one 15 minute intermission. For tickets and information visit https://www.goodmantheatre.org or call the box office at (312) 443-3800 (12noon – 5pm daily).

By Reno Lovison

For more shows visit Theatre In Chicago

‘Beehive’ brings a dizzying decade to Marriott Theatre

“Beehive: The 60s Musical” ( Photo by Liz Lauren)

Five Stars

With all the great music venues in Chicago who would have predicted that one of the best pop concerts this summer would be at Marriott Theatre in suburban Lincolnshire.

Happening under the guise of one feminine hair style fad, “Beehive: The 60’s musical,” celebrates the multi-culture and frequent social changes of a tumultuous decade.

And it does so with terrific vocalizations and instrumentals.

The show stars six exceptional singers: Emma Grace Bailey (Marriott Theatre: The Music Man; Metropolis PAC: A Christmas Carol); Grace Bobber (Marriott Theatre: The Sound of Music, Paramount Theatre: Into the Woods); Lucy Godinez (Marriott Theatre: Big Fish, American Repertory Theatre: Real Women Have Curves); Miciah Lathan (Marriott Theatre debut; Black Ensemble Theatre: The Other Cinderella; Leah Morrow (Marriott Theatre: Madagascar; TV: Somebody Somewhere, neXt ); and Aisha Sougou (Marriott Theatre: Beautiful, University of North Carolina School of the Arts: Crow’s Nest).

Understudies are Bridget Adams-King, Clare Kennedy, Tiyanna Gentry, and Savannah Sinclair.

The band is onstage led by keyboardist Celia Villacres. Musicians include Karli Bunn, Stephanie Chow, Kellin Hanas, Camila Mennitte, and Lauren Pierce.

Created by Larry Gallagher, “Beehive” is basically a covers musical that includes such songs as “Walking in the Rain” (Mann/Spector/Weil) and “Will You Still Love Me Tomorrow” (Goffin/King) and “performances” of such stars as Aretha Franklin, Diana Ross, Tina Turner and Janis Joplin.

“The 1960’s was a decade known as one of, if not THE decade, that experienced the biggest shifts in music, fashion, culture and social evolution and revolution.” said director/choreographer Deidre Goodwin. “Beehive” is a love letter to the music of the 1960’s. It became a generation’s soundtrack for first loves, heartbreak, social awareness and growing up,” added Goodwin.

A packed house, Wednesday, appreciated the messages and music.

If not for the announced need to keep aisles clear for performer costume changes, the opening day crowd Wednesday, would have been dancing, shouting, clapping, and singing along those pathways instead of just shouting, applauding and rising from their seats.

Unlike “1776” which comes mid-August and “Irving Berlin’s White Christmas” for December, Marriott Theatre has deviated from its usual fine but tried-and- survived musical show schedule to bring us this over-the-top pop concert.

Thank you, Marriott Theatre.

Details: “Beehive” is at Marriott Theatre, 10 Marriott Drive, Lincolnshire, now through Aug. 11, 2024. Run time is 120 minutes with no intermission. For tickets and more information call (847) 634-0200 or visit www.MarriottTheatre.com.

Jodie Jacobs

For more shows visit Theatre in Chicago

Luck be a lady

Alanna Lovely and the company of "Guys and Dolls" at Drury Lane Theatre. (Brett Beiner)

Alanna Lovely and the company of “Guys and Dolls” at Drury Lane Theatre. (Photo by Brett Beine

Recommended

Frank Loesser’s songs make Drury Lane’s production of “Guys and Dolls” work as a night out.

And hearing Erica Stephan sing in the role of missionary Sarah Brown is worth the price of admission. She is particularly right at home in her tipsy Havanna foray as she rings out “If I were a bell.”

That’s the good news.

But nice as the ensemble with Nicely Nicely Johnson (Nkrumah Gatling) is in “Sit down You’re Rocking the Boat” near the end, the production left me wishing it had moved along with more excitement and vigor.

The book, by Jo Swerling and Abe Burrows based on some Damon Runyon stories, pulls up Guys and Dolls’ memorable, (or at least familiar sounding to oldsters) characters as Nathan Detroit played by Jackson Evans, Sky Masterson interpreted by Pepe Nufrio and burlesque performer Miss Adelaide, perfectly taken on by Alanna Lovely.

Just as the songs such as “I’ve Never Been in Love Before” that Sara and Sky sing will sound familiar along with “Take Back Your Mink” and “More I Cannot Wish You.”

Pepe Nufrio and Erica Stephan stand on stage in 'Guys and Dolls.'

Professional gambler Sky Masterson (Pepe Nufrio) woos Sarah Brown (Erica Stephan), the prim Save-A-Soul missionary in “Guys and Dolls” at Drury Lane Theatre. (Photo by Brett Beiner)

Director/choreographer Dan Knechtges’ revival leans more towards “camp” than the classic musical comedy seen in the show’s past film and stage versions.

But this show does revolve around “the oldest established permanent floating crap game in New York.”

Details: “Guys and Dolls” is at Drury Lane Theatre, 100 Drury Lane, Oakbrook Terrace, IL through June 9, 2024. Running time: 2 hours, 35 minutes with one intermission. For tickets and more information visit Drury Lane Theatre.

Jodie Jacobs

For more shows around town visit Theatre in Chicago.

Nine to Five: A Retro Romp or Cautionary Reminder?

RECOMMEND

Three overworked, underpaid and unappreciated 1970’s era office secretaries seize the opportunity to kidnap and blackmail their domineering misogynist male boss in an effort to change the power dynamic and improve their working environment.

“9 to 5: The Musical” playing at the Metropolis Theater in downtown Arlington Heights is a kind of women’s lib version of “How to Succeed in Business.” The story is based on the popular 20^th Century Fox (non-musical) picture starring Dolly Parton, Lily Tomlin and Jane Fonda.

Dolly Parton is responsible for the music and lyrics including the perennial favorite 9 to 5 theme song from the movie. None of the songs for this production stray far from her introspective country style.

In this version, Doralee (Janelle Sanabria) firmly has her roots in the over-the-top persona of Dolly Parton featuring big boobs and big hair with a large dose of southern charm. Sanabria has captured the essence of this Parton inspired pivotal character who has been accused of sleeping with the boss and as a result is alienated from her coworkers.

Violet (Melissa Crabtree) is tired of being overlooked for her much deserved promotion, while new hire Judy (Savannah Sinclair) a recently divorced woman with no work experience is just trying to find her way in this strange new environment.

The tyrannical and chauvinist boss, Mr. Hart (David Gordon- Johnson) takes every opportunity to demean and make sexual advances towards virtually every woman within his domain in an effort to maintain his authority and the male dominated power structure.

While his wife is away on a four week cruise the trio of women manage to hog tie and subdue Hart in his home. Signing his name to numerous memos, they manage to dispatch his trusted administrative assistant Roz (Dani Goldberg) on an extended journey of her own while they commence making much appreciated changes and improvements to staff morale and office productivity.

Goldberg gets to enjoy the spotlight while professing love for the boss in a humorous campy (and very tame) striptease number.

Musical Director Harper Caruso and orchestra, though out of sight, keep the tempo upbeat and energetic. This is a fast-paced romp full of vintage technology allusions and office space humor. Director Landree Fleming and the entire cast does a great job of keeping the story moving forward through several full company musical numbers featuring choreography of Jenna Schoppe assisted by Quinn Simmons which is executed admirably.

The scenic design of Eleanor Kahn is minimal but effective. The very high backwall makes the workers feel small and insignificant in relation to the big corporation they represent. The array of LED fluorescent style fixtures suspended overhead were appreciated and did not go unnoticed further contributing to the sense of place.

Keep in mind that the premise of this show was conceived more than 30 years ago when the idea of a somewhat violent workplace takeover by disgruntled employees, involving a gun, might be considered so outlandish as to be humorous. It was a grim dark humor fantasy. In this case it all works out fine for everyone with little or no harm done.

The point being made is that women are an integral part of the workplace, capable of higher order thinking and not simply flesh and blood machinery. It may be difficult for some younger people today to consider how prevalent this thinking was prior to the 1980s and that the glass ceiling for women was very real.

This show on some level seems archaic and simply a retrospective romp but it also serves as a cautionary tale, a reminder that chauvinist and misogynist thinking still prevails in some circles and there are those who would love to turn back the clock.

DETAILS: “9 to 5: The Musical” is at the Metropolis, 111 W Campbell St., Arlington Heights, IL 60005 through May 26, 2024. Runtime is about 2 hours with one intermission. For tickets and information visit metropolisarts.com or call (847)577-2121.

Reno Lovison

For more shows visit Theatre in Chicago

Oh Baby

Pam (Katie Engler), Arlene (Julie Bayer) and Lizzie (Madison Jaffe-Richter) (Photo by North Shore Camera Club)

Highly Recommended

Combine perfect casting with the keen insight of director Scott Shallenbarger and you have the superb production of “Baby,” now on stage at Citadel Theatre in Lake Forest.

A high-energy musical that appeared on Broadway in 1983-84, “Baby” explores how three different-aged couples, one in college, one in their thirties, and one who are older with kids in college, react to news that their two-member family might become three.

Lizzie (Madison Jaffe-Richter) and Danny (Ben Ballmer) live together in a basement apartment on a college campus. Instead of suffering from the flu, Lizzie finds out she is pregnant.

Pam (Katie Engler) and Nick (Mark Yacullo) are desperate to have a baby. After missing her period she’s hopeful until she learns the pregnancy diagnosis is a mistake.

Arlene (Julie Bayer) and Alan (Joe Lehman) are in their 40s and are ready to downsize from their large, older home when Arlene learns during a check-up she is pregnant.

With music by David Shire, lyrics by Richard Maltby, Jr. and a book by Sybille Pearson who developed the story with Susan Yankowitz, the show and songs reflect what the couples want from life.

The whole cast is excellent but kudos particularly go to Ballmer who totally fits his college-age musician role and to Engler who appears so physically fit that if she does get pregnant would undoubtedly give the sports ball baby present she received to her kid, a boy or girl.

Best of all, “Baby” likely will get at least a few members of the audience thinking about love and what they want from life.

DETAILS: “Baby” is at Citadel Theatre, 300 s. Waukegan Rd., Lake forest, IL, now through May 19,2024. Run time: 2 hours, 20 minutes with one intermission. For tickets and information visit Citadel Theatre.

Jodie Jacobs

For more shows visit Theatre in Chicago

The Music Man delivers on his promise

Harold Hill (KJ Hippensteel) and Marian (Alexandra Silber)

Highly Recommended

You may think you know Meredith Wilson’s “The Music Man.”

But it doesn’t matter how often you have seen this “feel-good” family show. Each time you go, you are likely to take away something different, something more than recognizing its popular, fun “Seventy-Six Trombones.”

It might be a song that you didn’t know was from the show such as “Till there was You” or “Goodnight My Someone” or “Lida Rose.”

For this reviewer, it was the “book ban” political philosophy mentioned by Marian Paroo, the River City librarian, beautifully portrayed by Alexandra Silber.

Harold Hill (Left center) Looks up and admires Marian (center) who talks and sings about books while a library patron (far left) watches.

It shouldn’t have been a surprise given that an important theme is how the town changes once Professor Harold Hill arrives.

Played by the highly talented KJ Hippensteel as the fast talking, glib salesman, we watch Hill evolve while the town he had planned to scam, changes as he falls in love with its librarian.

The leads, KJ Hippensteel and Alexandra Silber are excellent but so is the entire cast.

Kudos particularly go to Kai Edgar who is terrific as the young Winthrop Paroo, Marian’s little brother who suffers from a lisp and is painfully shy until Hill reaches him with a musical instrument. And to Janet Ulrich Brooks who returns to Marriott as Marian’s mother after doing “Beautiful – the Carole King Musical” and “The Cherry Orchard at Goodman Theatre.

Most of all, audiences will be treated to the outstanding choreography of director/choreographer Katie Spelman. Yes, the accompanying cast may have partially been chosen by their dance ability, but all their movements across the stage and interactions with others are innovatively thought out to express the town and characters personalities.

So, sit back and enjoy or clap in time to “Seventy-Six Trombones” as “The Music Man” enhances your evening.

Details: “The Music Man” is at Marriott Theatre, 10 Mariott Drive, Lincolnshire, now through June 2, 2024. Run time: 2 hrs., 40 minutes with one intermission. For more information and tickets visit Marriott Theatre.

Jodie Jacobs

For more shows visit Theatre in Chicago

Oh what a night with Jersey Boys

Jersey Boys

Highly Recommend

Seeing “Jersey Boys” is about having a great time watching a “jukebox” musical.

“Jersey Boys” must be the hardest working cast on stage in Chicago. This nearly three-hour production, now at the Mercury Theater, is a physical workout for the four primary characters. They perform over 30 musical numbers while walking us through the life and times of Frankie Valli and The Four Seasons.

The Four Seasons were a Jersey-based rock and roll quartet that appealed nationwide to largely blue collar teens in the 1960s with songs like “Sherry” and “Walk Like A Man.”

Lead singer Frankie Valli with his distinctive falsetto transitioned successfully to the top of the pop charts as a single with “My Eyes Adored You” and “Can’t Take My Eyes Off of You” composed by his creative partner Bob Gaudio.

In this Chicago based production, the group’s founder, Tommy DiVito (Adrian Aguilar), starts the narration explaining the tumultuous beginnings of a few street-smart kids with a foggy vision of an exciting future. Tommy says their options were, “the military, the mob or music.”

As the story goes, Tommy became aware of a kid in the neighborhood, with “a voice like an angel.” It was Frankie Castelluccio or Frankie Valli (Michael Metcalf) as he came to be known.

With the help of another neighborhood friend, Joe Pesci (Grant Alexander Brown) – Yes the same guy who went on to become a famous actor – – they were introduced to Bob Gaudio (Andrew MacHaughton) a local musician and songwriter who had a recent hit with “Who Wears Short Shorts?”

The three struggled to find their sound. Ultimately, another old friend, Nick Massi (Jason Michael Evans), joined them and in a moment of inspiration they restructured themselves as the “Four Seasons.” Not inspired by Vivaldi but rather by the name of a bowling alley in New Jersey.

The final character in the puzzle is their record producer and lyricist Bob Crewe (Adam Fane) portrayed here with a good amount of humor as an over-the-top gay man with a great ear for music.

A theme running through the story is the group’s association with local mobster Gyp DeCarlo (Carl Herzog) and the fact that the boys can’t quite shake their Jersey roots.

This manifests as Tommy’s desire for largely undeserved respect, and a quest to find short cuts or easy money that he evidently felt was what led to the stature and apparent success of figures like Gyp.

The other side of the “Italian Jersey code” was a sense of honor which Valli took very seriously and is behind his arguably over developed sense of loyalty and an admirable adherence to his word.

Aguilar’s performance as Tommy carries the first act with his charming tough-guy persona. Grant Alexander Brown as Pesci and Adam Fane as Crewe interject much of the comic relief throughout the production.

MacHaughton as Gaudio lets his presence be known with an outstanding strong delivery of his first number, “Cry for Me,” and later on in “Oh What a Night.”

The weight of the production, of course, falls on the shoulders of Michael Metcalf as Frankie Valli who does an outstanding job on every level.

We see the character transition from a naïve young man to a global superstar with his own demons and life challenges. Valli’s well known falsetto is not easy, if not nearly impossible, to duplicate, but Metcalf manages it admirably.

The entire support ensemble does yeomen’s work keeping the high energy, fast-paced storyline going. Kudos specifically to Eric A. Lewis who plays Barry Belson and others who belts out a few high notes of his own.

One of the highlights of this production is the terrific orchestra led by Linda Medonia (keyboards) with Justin Kono (percussion), Jonathan Golko (bass), Samuel Shacker (guitar), Cara Strauss (reeds), and Greg Strauss (trumpet).

Jersey Boys seems as much like a great concert as it is a play with a substantial and interesting book by Marshall Brickman and Rick Elice.

Whether you are coming to this as a nostalgic experience or you’re new to the music of Frankie Valli and The Four Seasons you will be in for an entertaining event suitable for all ages (PG-17 for language).

Details: Jersey Boys at the Mercury Theater, 3745 N. Southport Avenue, Chicago, IL, through May 19, 2024. Running time is about 3 hours with a 15-minute intermission. For tickets and information visit mercurytheaterchicago.com or call (773) 360-7365.\

Reno Lovison

For more shows visit TheatreinChicago