Category: Musicals

Annie a hopeful message

 

Annie

HIGHLY RECOMMENDED

“Annie” by Music Theater Works at North Shore Center for the Performing Arts in Skokie offers a message of hope during desperate times that has an eerie relationship to the present.

The popular musical with music by Charles Strouse, lyrics by Martin Charnin and book by Thomas Meehan, is based on an equally popular 1885 poem “Little Orphan Annie” by James Witcomb Riley and a  subsequent comic strip of the same name. The comic strip debuted in 1924 in the New York Daily News (owned by the Chicago Tribune), then ran in various newspapers for the next 86 years.

The uplifting story of a distinctively red haired, hopelessly optimistic, depression era orphan named Annie keeps the story firmly rooted in the early 1930s where the stark contrast between the haves and have-nots was plainly evident everywhere. This was especially true in urban centers like New York City where fortunes large and small were lost in the 1929 stock market crash.

Masses of people were reduced to selling apples or pencils on the street and living in improvised shanties nicknamed Hoovervilles, a portmanteau designed as a dig against outgoing President Herbert Hoover whom many considered responsible for the current conditions.

In the meantime, President Franklin Delano Roosevelt struggled to cobble together a number of relief initiatives that would become “The New Deal” including the Works Projects Administration (WPA) and Social Security for the elderly.

This version of the stage play begins with projected depression era images during the overture played by the MTW 16 piece pit orchestra led by Linda Madonia to set the mood and feeling of the time.

The opening lament, “Maybe” sets up the problem and introduces us to the eponymous orphan, Annie (Elin Joy Seiler) who dreams of reuniting with her parents and muses about what they might be like. Reality soon emerges with the orphan girls explaining their dismal lot singing, “Hard Knock Life.”

This is a showstopper as an assortment of exceptionally talented girls sing and dancd with expert precision led by choreographer Maryanne Nunn and music director Michael McBride.

Each of the girls show their individuality with none of them mugging for attention. However, the diminutive Molly (Audrey Bucholtz) is a scene stealer throughout the production, through no fault of her own.

Annie manages to briefly escape the orphanage rescuing stray dog “Sandy” along the way and singing, perhaps the best-known song from this play, “Tomorrow.”

Film actor W.C. Fields is often credited with saying, “Never work with dogs or children.” In this case, Seiler demonstrates her ultimate professionalism and comfort on stage as she manages to contain the loosely leashed and somewhat distracted Sandy (Nosi) while delivering her big number.

Back at the orphanage, boozy proprietress Miss Hannigan (Sarah Smith) opines her total contempt of the children in the comically mean spirited, “Little Girls.”

Smith finds a perfect balance of comic evil that is distinctively her own and not overly derivative of other well-known performers of this role.

Annie is returned to the orphanage about the same time Grace Farrell (Desiree Gonzalez) appears, looking to invite an orphan to spend the Christmas holiday with her employer Oliver “Daddy” Warbucks (Michael Metcalf). Annie is of course chosen.

This begins the relationship between the poor parentless child and the billionaire financier, setting up an opportunity to appreciate the stark contrast between those who are suffering and those with excessive wealth and privilege.

Metcalf is perfect in this iconic role. His well-modulated speaking and singing voice as well as his physical stature is commanding and authoritative shifting to a more sensitive demeanor when necessary and his suit fits impeccably.

I am a fan of Chicago area costume designer Rachel Sypniewski. She did a stellar job paying attention to each performer from the orphan girls and Warbucks’ household staff through to Annie’s make over and iconic final dress reminiscent of her comic-strip persona. Sypniewski understands that Warbucks and Annie as well as PA Farrell can’t look like they shop off-the rack so the tailoring is superb.

When Annie arrives at the Warbucks estate she asks if this is where he lives or is it a train station. The scenic design team of Jacqueline and Richard Penrod achieve an over-the-top impression with cartoon inspired scenic projections that decorate the background and flood the proscenium arch, creating an illusion of immersive opulence in which Annie sings, “I Think I’m Gonna Like It Here.”

Another big number in Act I, “Easy Street,” introduces us to Miss Hannigan’s equally despicable brother Rooster (David Geinosky) and his female accomplice Lily St. Regis (Emily Holland). Geinosky employs a particularly gracefully exaggerated comic-like physicality.

In Act II Annie’s hope of finding her parents aided by Warbucks with the help of President Roosevelt (Bob Sanders) is nearly dashed by the “Easy Street” trio but ultimately comes to a satisfactory conclusion.

This is a comic come-to-life, and though there are some serious aspects to the message it is easily consumable by all ages. I was surrounded by a number of children between 5 and 10 years old who seemed absolutely captivated and not the least bit bored throughout the entire production.

Director Kyle Dougan-Leblanc kept the pacing quick with captivating projections accompanied by Madonia’s orchestral incidental music during scene changes, keeping the audience involved and focused.

This company always does a great job but this production is perfection.

“Annie” by Music Theater Works at The North Shore Center for the Performing Arts, 9501 Skokie Blvd., Skokie, IL through January 4, 2026. Running time about 2 hours and a half with one 15-minute intermission. For tickets and information visit musictheaterworks.com or call (847) 673-6300.

Reviewer: Reno Lovison

For more reviews visit Theatre in Chicago

Jekyll and Hyde Musical

Highly Recommended

I have come a little late to this extraordinary musical retelling of Robert Louis Stevenson’s Jekyll and Hyde classic. Originally conceived for the stage in 1990 by Frank Wildhorn & Steve Cuden with music by Wildhorn and lyrics by Leslie Bricusse the show is presented here by Kokandy Productions.

For those unfamiliar with the 1886 original – – this is a tale of the strange case of Dr. Henry Jekyll, a fictional 19th century London physician who decides to experiment on himself using what might be described as psychotropic drugs.

His interest in the causes of insanity lead him to undertake this challenge in an effort to better understand the boundaries of the human mind, specifically as it relates to questions of morality. In doing so he unleashes his own demon in the person of his alter ego Mr. Hyde.

The early ensemble performance of “Façade” alludes to the multiplicity of human personality and the idea that we have to work to suppress our most base instincts while carefully crafting our public image.

In this production, both Jekyll and Hyde are expertly portrayed by soaring tenor, David Moreland who diligently adapts his voice and visage in a physically demanding transformation between each character as he struggles with the opposing forces of good and evil.

In deference to Victorian sensibilities, it would be unseemly for Dr. Jekyll’s fiancé Emma Carew (Emily McCormick) to have any interactions with the villainous Mr. Hyde who instead turns his amorous attentions to local sex worker Lucy Harris (Anna Seibert). These are not so much portrayals of good and evil but rather references to British upper- and lower-class social behavior. In fact, Lucy is quite kind and good but is easily abused by the sinister Hyde.

Baritone, Gabriel John Utterson (Kevin Webb) is Dr. Jekyll’s lawyer, and confidant who does his best to protect his friend.

The unchecked Hyde sets out to seek revenge by punishing the hospital board of advisors who were unwilling to support Dr. Jekyll’s initial request to experiment on inmates of the institution.

These members include the unsympathetic presiding officer Simon Stride (Quinn Kelch) whose bass-baritone had a particularly menacing timbre, Bishop of Basingstoke (Jon Parker Jackson), General Lord Glossop (Quinn Rigg) Lord Savage (Ismael Garcia), Sir Archibald Proops (Gabby Sauceda-Koziol), and Lady Beaconsfield (Maiko Terazawa) who gets a special mention for best hair and make-up.

Emma’s father, Sir Danvers Carew (Nathan Calaranan) is not exactly unsupportive but neither is he an enthusiastic ally of the doctor’s plan.

Quinn Simmons who appears as Jekyll’s butler Poole, as well as a number of other supporting characters, is one of those performers whose energetic presence is felt without being a distraction in spite of a gender bending persona that allows them to morph in a chameleon-like fashion from role to role.

In this performance understudy Seibert stepped in filling the role of Lucy (replacing Ava Stovall) providing a powerful solo delivery of “A New Life” as well as an exhilarating soprano duet of “In My Eyes” with Emily McCormick which nearly required a mid-play encore.

In general, the score by Wildhorn and Bricusse performed by an orchestra of 15 wonderful musicians led by talented music director Nick Sula, is an intense non-stop marathon of dynamic compositions seamlessly progressing from one to the other which had this very appreciative audience continually exhilarated.

It was clear that director Derek Van Barham had control of this company and a clear vision that was executed impeccably. This was in no small part augmented by the brilliant choreography of Brenda Didier with movements that effectively illustrated the various emotions and messaging required by each character or ensemble at any given moment.

The comparatively austere monochromatic wood grained multi-level set design of Sotirios Livaditis was very effective, offering a glimpse at the orchestra behind while providing vertical lift to the action.

The costumes of Rachel Sypniewski were perfection from head-to-toe including hair and wigs by Keith Ryan and make-up by Sid Genko complimented by lighting of “Max” Maxin.

Details: Jekyll & Hyde by Kokandy Productions is at Chopin Theatre, 1543 W. Division St., Chicago through December 21, 2025. Running time is 2 hours and 15 minutes with one intermission. For information and tickets visit kokandyproductions.com

Reviewer: Reno Lovison

For more shows visit Theatre in Chicago

—

A fun evening out

Recommended

If you were lucky enough to experience the Chicago run of “Million Dollar Quartet” at the Apollo Theatre (a record breaker of Oct. 1, 2008 to Jan 17, 2016) you’ll understand why the concept of bringing back Memphis’ Sun
Studio stars Elvis Presley, Carl Perking, Johnny Cash and Jerry Lee Lewis for another jam session might make sense. The original book was by book by Colin Escott and Floyd Mutrux.

And if you appreciate Rock ‘n’ Roll you’ll likely enjoy an evening out with Marriott Theatre’s holiday reincarnation with its by book by Escott.

But the best reason to see “Million Dollar Quartet Christmas” at Marriott Theater is JP Coletta as Jerry Lee Lewis. Coletta, who has a long list of regional credits, embodies Jerry Lee’s  musical talent and oversized character as captured in the  original show.

Accompanying Coletta are Trever Lindly Craft as Carl Perkins, Michael D. Potter as Johnny Cash, Colton Sims as Elvis, and Teah Kian Mirabelli as Dyanne. Ross Griffin plays Sun owner Sam Phillips. In addition, Jed Feder is Flake and Cody Siragusa is Brother Jay.

This “Christmas” version is about 90 nonstop minutes of popular holiday and regional songs ranging from “O Christmas Tree” to “Go tell it on the mountain.”

DETAILS: Million Dollar Quartet Christmas” is at Marriott Theater, 10 Marriott Drive, Lincolnshire, IL. now through Jan. 4, 2026. For more information visit Million Dollar Quartet Christmas | Show

Jodie Jacobs

For more shows visit Theatre in Chicago

Catch this show if you can

 

 

Catch Me If You Can

Highly Recommended

If looking for a joyous night out, consider catching Catch Me If You Can now on stage at Marriott Theatre in Lincolnshire. Opened at Broadway’s Neil Simon Theatre in April 2011, that production garnered four Tony nominations, including one for Best Musical. 

It works well for Marriott’s Theatre in the Round. Directed by Jessica Fisch with fun choreographed numbers by Deidred Goodwin, the show captures the youthful exuberance of Frank Abikgnale Jr. as he first takes on an airplane pilots’ mantle and then switches to the role of a pediatrician.

Basically, the plot of the musical,”Catch Me If You Can,” follows the supposedly close to true exploits of Frank Abignale Jr. depicted in the play of the same name based on his autobiography.

Frank Junior, brilliantly played by JJ Niemann, admires his con artist father,  Frank Sr., expertly done by Marriott veteran Sean Fortunato. Junior leaves home after learning his mother, Paula, has become overly fond of his dad’s friend, Jack Barnes. You get to know Paula, played by Jessie Fisher in Act II.

Much of the first act includes Frank Junior as a Pan  Am pilot and the initial efforts of an FBI team headed by Carl Hanratty (Nathaniel Stampley) to trace him

In Act II Frank Junior decides to switch professions as he takes on the role of pediatrician Dr. Frank Conners.

He meets and falls in love with nurse Brenda (Mariah Lyttle) who brings him home to meet the folks.  Lyttle’s number “Fly fly Away” definitely is worth staying for Act II. 

By the time Carl catches Frank Junior, you are on the side of this misguided, talented young man. 

Details: Catch Me If You Can is at Marriott Theatre, Lincolnshire, IL, through Oct. 19, 2025.

Jodie Jacobs

For more shows and reviews visit Theatre In Chicago.

 

Fiddler still speaks to need to belong

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Highly Recommended

Fiddler on the Roof at Music Theater Works touches the very essence of our need to belong, the stigma of otherness and our fear of expulsion.

The action takes place at the turn of the twentieth century in the fictional shtetl of Anatevka in Eastern Europe’s Pale of Settlement somewhere near Kyiv.

At the beginning of the play Tevye, a Jewish dairyman with five daughters, expertly portrayed by Sam Nachison, explains the importance of balance as exemplified by the metaphor of a fiddler on the roof.

He acknowledges the reality of what it means to be part of a group that is quite separate but existing within a larger culture. A certain balance of conformity must be maintained in order to enjoy some level of non-conformity. But as we learn, this balance is maintained largely at the pleasure of those with the greatest power.

Tevye taps into our most personal sense of identity. The story asks us to consider what defines our community? Is it a connection to place, a connection to people or is it our connection to rituals?

The answer is clear “A little bit of this, a little bit of that…” does not make a life. People come and go, but rituals can be maintained under any circumstances. TRADITION!

This occurs at the dawn of the modern era requiring a need to accept change and to adapt.

Some like Fyedka, a young local non-Jew (Jake Mickel), and Tevye’s third daughter Chava (Madison Jaffe-Richter), attempt to assimilate.

Many urban intellectuals like Perchik (Jacob Simon) and second daughter Hodel (Elissa Newcorn) are drawn to social change in an attempt to equalize the injustices of what had been a largely monarchical system throughout Europe. It is one that favored the rich and their supporters who actively excluded those they felt were inferior, often defined by race, religion or some other outsider affiliation.

Eldest daughter, Tzeitel (Madison Uphoff), and Motel (Nathan Kabara), the tailor embrace technology as is evidenced by his purchase of a sewing machine. But the couple represents those attempting to maintain the status quo by staying close to their cultural roots and trying to keep their current community together at least on the family level.

Celebrating its 60th anniversary this year, Fiddler on the Roof is a very enjoyable, humorous and at times melancholy musical play written by Joseph Stein based on a collection of stories by Sholem Aleichem. Music and lyrics are by Jerry Bock and Sheldon Harnick.

This version, directed by L. Walter Stearns, is as good as any I have seen (and I have seen several).

The scenic design of Bob Knuth was simple and fresh. It basically creates a jumbled collection of bare wood slats framing the proscenium, reminiscent of the birch forests of Poland and the Ukraine thus providing a sylvan sense of place.

Directed by Eugene Dizon, there are a number of memorable tunes including “Tradition,” “If I Were a Rich Man,” and of course “Sunrise Sunset”.

The full pit orchestra of twenty musicians (all members of Union Local 10-208) with conductor Valerie Gebert elevates the production with a sound quality that simply cannot be adequately duplicated by a smaller ensemble.

Specific rituals and events depicted certainly hold true to similar Jewish events. For this reason, Fiddler holds a certain sentimentality for many. But it becomes a universal story because each of us have experienced or witnessed power with an unfair imbalance.

Empathy is crucial to the enjoyment of this story because it is presented from the perspective of the victims who in this case are Tevye and his community.

Those who have felt the sting of expulsion or have been labeled as “other” should be able to identify.

That is why it is limiting to see this only as a Jewish story. It is a story that compels us to consider the plight and position of those with less power or those who are struggling to maintain their sense of personal identity within a dominant group.

Details: Fiddler on the Roof presented by Music Theater Works at North Shore Center for the Performing Arts, 9501 Skokie Blvd, Skokie, through August 17, 2025. Running time, including intermission, is 2 hours and 45 minutes. Visit MusicTheaterWorks.com for tickets and information.

Review by Reno Lovison

For more shows and reviews visit Theatre in Chicago

Arthur perfect for young audiences

Arthur & Friends Make A Musical!

Recommended

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

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

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

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

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

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

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

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

Jodie Jacobs

Theatre in Chicago

Purple is Splendid Color

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

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

Highly Recommended

 

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

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

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

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

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

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

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

 

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

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

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

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

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

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

Reviewed by Reno Lovison

For more reviews visit Theatre in Chicago

 

Marriott Theatre show offers a second chance

 

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

Highly Recommended

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

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

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

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

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

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

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

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

Jodie Jacobs

For more reviews visit Theatre In Chicago.

Titanic the Musical

Sully Ratke’s perfectly dated costumes and finery (or lack of it) define their wearers’ status which in this period musical is important as they reflect the lifestyles of the passengers who promenade each of Titanic’s decks.
If you go, do glance up at the walls where an up to date time appears as the Titanaic moves toward the iceberg. Four days into her maiden voyage from Southampton, England to New York, the RMS Titanic sank April 15, 1912 in the North Atlantic Ocean. There were about 2,224 people on board of whom more than 1,500 died. 
DETAILS: “Titaanic the Musical” is at Marriott Theatre Lincolnshire, 10 Marriott Drive, Lincolnshire, IL, now through June 1, 2025. For tickets and more information visit  Marriott Theatre 0r call 847-634-0200.
Jodie Jacobs

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