Northlight still puts on its productions at the North Shore Center for the Performing Arts in Skokie.( J Jacobs photo)
Northlight still puts on its productions at the North Shore Center for the Performing Arts in Skokie .(photo courtesy of North Shore Center for the Performing Arts)
Going back to a stage show will feel different fall of 2021. But those folk who really want an in person experience won’t be complaining about wearing a mask indoors. Just expect it to be a requirement, then sit back and enjoy the live action on stage.
Here are a few of the shows opening in Chicago and the suburbs this fall.
Aurora: “Kinky Boots” at the Paramount Theatre, 23 E. Galena Blvd, Now through Oct. 17. For tickets and more information visit Paramount.
Evanston: “Twilight: Los Angeles, 1992″ at the Noyes Cultural Arts Center, 927 Noyes St. A Fleetwood Jourdain Theatre production, it runs Sept. 11-26. For tickets and more information visit Fleetwood Jourdain.
Lake Forest: “Brighton Beach Memoirs” at Citadel Theatre, 300 S. Waukegan Rd., Sept 17-Oct. 17. For tickets and more info visit Citadel Theatre
Lincolnshire: “The World Goes Round” at the Marriott theatre, 710 Marriott Drive, Sept 15=Nov. 7 . For tickets and more info visit Marriott Theatre.
Oakbrook Terrace: “Forever Plaid” at Drury Lane, 100 Drury Lane, Sept. 17-Nov. 7. For tickets and more information visit Drury Lane Theatre.
Skokie: “Songs for Nobodies” at Northlight Theatre in the North shore Center for the Performing arts at 9501 Skokie Blvd., Sept 23-Oct. 31. For tickets and information visit Northlight Theatre.
The Yard at Chicago Shakespeare Theater. (J Jacobs photo)
Chicago
“As You Like It” at Chicago Shakespeare on Navy Pier at 600 E. Grand Ave. Oct 6- Nov 21. For tickets and more information visit Chicago Shakespeare Theater
“Macbeth” Sept 17-Oct. 9 and The Elixer of Love Sept. 26-Oct. 8 at Lyric Opera of Chicago 20 N. Wacker Dr. Visit Lyric Opera of Chicago.
“The tragedy of Othello, The Moor of Venice” Oct 7-Nov. 21 at Court Theatre 5535 S. Ellis Ave. on the University of Chicago’s Hyde Park campus. For information and tickets visit Court Theatre.
Mean girls Play at Goodman Theatre. : (L to R) Adhana Reid (Ama), Tiffany Renee Johnson (Mercy), Adia Alli (Gifty), Ashley Crowe (Nana) and Tania Richard (Headmistress Francis). (Photo by Flint Chaney).
In March of 2020, three days before “School Girls; Or, The African Mean Girls Play” was set to open, Goodman Theatre was forced to shut down due to COVID. It was thought the shutdown would be temporary.
When it wasn’t, the organization pivoted and turned to streaming. The play was viewed in 45 states, 13 countries and was seen by more than 1,600 Chicago Public School students.
“School Girls” is now back in session, live.
Deceptively funny with dark undertones, the play revolves around a group of high school girls at an exclusive boarding school in Ghana.
The reigning “Queen Bee” has her sights on the Miss Ghana beauty pageant to compete for “Miss Universe.” But then new girl, Ericka, enters the scene and it’s a game-changer for everyone.
Expect a laugh every few minutes as the girls engage in comedic banter about clothes, looks, and family background that showcase the similarities of teenage girls across the globe.
What was truly funny was their perception of American cultural icons like White Castle, Nike Shoes and Wal-Mart.
But bullying, blackmail and deception all come into view.
Starring Adia Alli (Gifty), Kyrie Courter (Ericka Boafo), Ashley Crowe (Nana), Ciera Dawn (Paulina Sarpong), Tiffany Renee Johnson (Mercy), Adhana Reid (Ama), Tania Richard (Headmistress Francis) and Lanise Antoine Shelley (Eloise Amponsah, the eight actors show powerful performances in a range of emotions from silly joy to deep frustration.
Mention must be made of Kyrie Courter’s amazing voice when she sings Whitney Houston’s, “The Greatest Love of All.”
The play was written by Ghanaian-American playwright Jocelyn Bioh, who was inspired by the 2011 beauty pageant in Ghana.
Directed by Lili-Anne Brown with quick precision and impeccable comedic timing, the ambience on the stage slowly turns into something more realistic, frightening and contemporary – as racism rears its ugly head.
Kudos to costume designer Samantha C. Jones for the girls’ beautiful gowns and elegant dress for Eloise Amponsah.
“School Girls” runs through August 29, 2021 in the Albert Theatre. Run time: Approximately 80 minutes with no intermission. Seating is limited and masks are required.
Goodman theatre is at 170 N. Dearborn, Chicago. For tickets and other information visit Goodman Theatre/Here.
After a year of streaming performances, some of Chicago’s theaters are toe-testing the public’s comfort with live, indoor productions.
“Cooking with Bubbie,” a comedy presented by MadKap Productions is playing at the Skokie Theatre through Aug. 22 with Jan Slavin alternating performances with Carla Gordon. A historic theatre, the venue is at 7924 Lincoln Ave. Skokie
Goodman Theatre (Marquee photo courtesy of Goodman Theatre)
Goodman Theatre is bringing back “School Girls – or the African Mean Girls Play” July 30 to Aug. 29, 2021 for its first 2021 in-person production in the Albert. It’s a Chicago premiere that was set to open March 2020 before COVID shut the theaters down.
A comedy written by Jocelyn Bioh and directed by Lili-Anne Brown, the story tells how a “reigning queen bee” of an exclusive Ghana boarding school aspires for the Miss Universe pageant. It’s a comic look at global similarities and differences of teenage girl behavior.
The season will continue with “Ragtime” Oct. 29-Nov. 7 followed by “Billy Elliot” Dec. 23, 2021 to Jan. 2, 2022.
Further north, Citadel Theatre opens its indoor season with Neil Simon’s “Brighton Beach Memoirs,” Sept. 15-23, followed by “You’re a Good Man Charlie Brown,” Nov. 17-20. The venue is in a school building at 300 Waukegan Rd., Lake Forest, IL
The Nederlander Theatre is the former Oriental Theatre on Randolph Street.
Broadway in Chicago is starting with “Rent” Oct. 5-10 at the CIBC Theatre at 18 W. Monroe St., followed by “What the Constitution Means to Me” at the Broadway Playhouse Oct. 26-Nov. 21, then “Beautiful – The Carol King Musical” Nov. 2-7 back at the CIBS Theatre.
Put the pre-Broadway premiere of the musical “Paradise Square” on the calendar. It plays Nov. 2-Dec. 5 at the James M. Nederlander Theatre, 24 W. Randolph St., Chicago. The show is a tale of differing perspectives during the Civil War plays out at a New York establishment called Paradise Square.
Tickets are already on sale for what is expected to be a blockbuster, Disney’s “Frozen,” which will be Nov 19, 2021 – Jan. 22, 2022. at the Cadillac Palace Theatre, 151 W. Randolph St.
Broadway in Chicago’s horn of plenty continues with “Pretty Woman – The Musical” Dec. 14-19 at CIBC. For more information, tickets and the 2022 show listings please visit Broadway in Chicago Shows.
Co-artistic directors Audrey Francis and Glenn Davis. In the round theater part of Steppenwolf’s new Arts and Education Center opening this fall. (Photo by Frank Ishman.)
Steppenwolf Theatre Company, a multi award-winning Chicago ensemble theater, announced today, that ensemble members Glenn Davis and Audrey Francis will be co-artistic directors when Artistic Director Anna D. Shapiro steps down in August.
Actor/producer Glenn Davis a Chicago native with strong ties to Los Angeles, performed in Steppenwolf ensemble member Rajiv Joseph’s Bengal Tiger at the Baghdad Zoo at L.A.’s Kirk Douglas Theatre, and transferred with the production to Broadway, where he starred alongside Robin Williams.
Upon joining the ensemble in 2017, Davis appeared in several productions including Downstate by ensemble member Bruce Norris in Chicago and at the National Theatre in London.
Davis is a partner at Cast Iron Entertainment, a collective of artists currently in residence at L.A.’s Geffen Playhouse that incubates new theater projects.
He is also an artistic associate at The Young Vic Theatre in London and at The Vineyard Theatre in New York.
A graduate of DePaul University’s Theatre School, Davis is also the first African-American to graduate from the Birmingham Conservatory for Classical Theatre at the Stratford Festival in Ontario, Canada.
Actor/director/teaching coach, Audrey Francis is the co-founder of Black Box Acting. The Black Box Method she created is based on the Meisner and Viewpoints techniques. Although she and her partner sold it after a decade, Black Box continues in Chicago, today. However, she continues to as a professional acting coach for Showtime, NBC, Fox, and Amazon.
Francis, who attended The School at Steppenwolf in 2004 and has acted with several Chicago area companies, joined the Steppenwolf ensemble in 2017. Audiences have seen her in The Doppelgänger ), Dance Nation, The Fundamentals, Between Riverside and Crazy and The Herd.
She has also performed in such independent films as Knives and Skin, Later Days, Signature Move and the web series Distant Learners. Recent directing credits include Plano with First Floor Theatre that debuted in the 1700 space at Steppenwolf, The Invisible Hand at Steep Theatre, and the audio play of I Am Not Your Perfect Mexican Daughter in Steppenwolf’s most recent virtual Steppenwolf NOW season.
“Steppenwolf was founded by extraordinary actors who had a vision of building an ensemble of artists who would support each other while producing honest, bold, and thought-provoking theatre,” said Shapiro.
“This approach changed American theater. Now with a nearly 50-member ensemble, we are on the verge of our next great act—the opening of a remarkable new theater-in-the-round and an education wing, two decades in the making, that promises to be a cultural nexus for our City. Glenn and Audrey, together, are the right mix to build on our company’s legacy and open our doors wider than ever before.”
An information release on the appointment noted that Davis and Francis are the first co artistic directors appointed by the ensemble in its nearly five-decade history and the first time the company has elected an artistic director of color.
‘I Hate It Here’ live online at Goodman theatre. (Photo by Flint Chaney)
2 stars
If someone you know or maybe even an anonymous someone on Facebook asks how are you coping with COVID, what do you say? In “I Hate it Here,” a live streaming Goodman Theatre play by Ike Holter, actors representing different economic strata, backgrounds and race spew out their negative views of the world, often on top of each other’s thoughts.
Yes, we all often do talk at the same time. Fortunately, if you want to know what they said, there are subtitles because much of the spoken dialogue tumbles out like rushing water.
What in the first few of a dozen segments of complaints about people’s rudeness and empty or uncaring attitudes come across as brilliant in an “I’ can’t take it anymore” framework yelled from a window, merely becomes noise. As meaningful as the complaints are, and as good as the acting is, the diatribe starts to sound like a broken record.
The exception was a verbal slow-down of a poignant dialogue between a white nurse and an injured black man who told her she could have said. “stop,” when she saw him attacked.
The pandemic’s lockdowns, mask wearing mandates and deaths of loved ones all coming on top of already existing societal evils have twisted our universe.
Hearing about societal problems in a play has historically been thought provoking and even led to change. But to accomplish that audiences, and later on, readers, need more contrasting elements and character depth than found in “I Hate It Here. The title sounds like a teenager’s slamming a bedroom or front door.
“I Hate It Here” streams live July 15-18, 2021. It is the third play of a live online trilogy presented by Goodman Theatre that began with ‘The Sound Inside,” May 13 –16, followed by “Ohio State Murders” June 17-20. Individual tickets are $30. The trilogy was $60.
Lisa Rosetta Strum, Melissa Joyner and Jeffrey Bean in ‘Lines in the Dust’. (New Normal Rep photo)
4 Stars
Lines in the Dust , New Normal Rep’s currently streaming play, centers around Denitra Morgan whose daughter is illegally enrolled in a wealthy high school in Essex County, NJ in 2010. The school principal, Dr. Beverly Long, a friend of Denitra’s, is completely unaware of that situation.
Conflict arises when the school hires private investigator Michael DiMaggio to find out which students are illegally enlisted in the school.
One of the strongest aspects of the New Normal Rep production is its fine acting, especially Melissa Joyner’s performance as Denitra. One can’t help but greatly sympathize and feel overwhelming sadness for the immense hardships she faces and the sacrifices she makes. Her performance is raw and full of heart throughout the story. The emotion is never absent.
Because the format of this production is predominantly two separate videos used side-by-side for each character, the visuals may take time to get used to. Additionally, the special effects background is occasionally distracting. However, the engaging story will be enough to compensate and pull you in immediately as you await to see what happens next.
Written by Pulitzer-Prize nominated and Obie winning actress/playwright Nikkole Salter, the work has historical and modern-day societal significance. Set against family hardships, it is an excellent story guaranteed to have a lasting impact on its viewers. Salter’s writing always hits its note to form a very powerful and touching story.
Lines in the Dust runs for approximately 110 minutes, including credits. For tickets and information about the show and New Normal Rep visit New Normal Rep.
Music Theater Works does Legends of the 50’s and 60’s. (Photo by Bret Beiner)) production
4 stars
Grab a seat. Enjoy summer outdoors listening to talented singers and musicians perform nearly 60 classic and cherished songs from the 1950s to the 1960s. Music Theater Works, the North Shore’s famed musical production company typically performing from Evanston venues, is doing Legends Of The 50s and 60s: Greatest Hitsoutside Skokie’s North Shore Center For The Performing Arts, June of 2021.
While it is often a challenge to get audiences engaged, the performers and band faced no difficulty in doing so. Anyone who watches this show will undoubtedly want to join along in song and dance due to both the pure talent of the performers.
Co-directed by Music Works Producing Artistic Director Kyle A. Dougan and Martin L. woods, the performers’ strong and vibrant voices made the entire show come alive as they moved through the hit songs of such talents as Buddy Holly, Doris Day, The Supremes, Elvis, The Temptations, George Harrison, Aretha Franklin and Bob Dylan.
Additionally, the performance was heightened by the performers’ pure professionalism. The show flew smoothly from high energy number to number without missing a beat.
This show is an excellent choice for music lovers and a great escape to share with family and friends. Though the music might appeal more to older generations, younger people will definitely find enjoyment as they are introduced to less familiar classics. It is a must-see for anyone in the Chicagoland area looking for a talent-filled fun event.
Details: Music Theater Works’ Legends Of The 50s and 60s: Greatest Hits is outside the North Shore Center For The Performing Arts, 9501 Skokie Blvd, Skokie, IL 60076 from June 18th through June 27, 2021. Run time: Two hrs. 20 minutes, plus a 15-minute intermission. For more show information and tickets visit MusicTheaterWorks.com/BoxOffice or call (847) 673-6300.
Vocalist Norm Lewis in The New Classics at Lyric Opera of Chicago. (Photo by Kyle Flubacker)
he Lyric Opera of Chicago has come up with an amazing substitute for the large-scale musical it produces on its large-scale stage at the end of its operatic season.
Titled “the New Classics-Songs from the New Golden Age of Music Theater,” it is about a 70-minute-long mix of dramatic, sad, wistful and powerful show numbers that some listeners will know but others may not find familiar.
And instead of coming from the Lyric’s grand stage, the production was mostly recorded back stage in an intimate, former Civic Opera space.
Hosted by David Chase who also accompanies the singers along with members of the Lyric Orchestra, the program reintroduces some notable musical theater by notable composers.
Vocalist Gavin Creel opens the program with the obscure Stephen Sondheim “What More Do I Need” from Saturday Night followed by Nikkie Renée Daniels’ wistful rendering of the well-known “The Heather on the Hill” from Brigadoon. Norm Lewis then wows with “Stars” from Les Miserables.
Jenn Gambatese changes the mood with “Gimme Gimme” (Love) from Thoroughly Modern Millie and Heath Saunders offers a moving “Something Wonderful” from The King and I.
Jo Lampert puts the best interpretation I’ve heard on “Omar Sharif” from The Band’s Visit and Amanda Castro “flamingo” taps the way to the top of her building with “Raise the Roof” from The Wild Party.
Chase segues to historic references between numbers to the Civic Opera and more show tunes sung by the cast (introduced above) that also include “Love Changes Everything” “I Will Never Leave You,” “Dear Theodosia,” ”Way Back to Paradise,” “I’d Rather be Sailing,” “Popular,” “If Only” and “Rain.”
Guess which shows those songs came from or better yet, click on the production. It premiere this Thursday, June 10 at 7 p.m. CT on Lyric’s Facebook and YouTube channels. For more information visit The New Classics.
‘Master of the House’ from Les Miserables (photo courtesy TPS and Marston McCoy Media)
Stacey Flaster and Liz Fauntleroy, founders of Highwood, IL-based The Performer’s School, had their 40-member cast set for Les Miserables and 26-member cast for Disney’s Beauty and the Beast Jr. when Covid-19 shut down stages and venues everywhere including Ravinia Festival where they put on one of their shows.
“We didn’t know how long the quarantine would last but the kids had signed on,” said Flaster.
In addition, their staff orchestrator, editor, costumer and props people were still working on the shows and still hoped to do Les Mis and Beauty.
“So, we had to do something,” said Fauntleroy.
The something was to ask Peter Marston Sullivan, associate artistic director of Marriott Theatre and founder with wife Elizabeth Telford of the new, digital production company Marston McCoy Media, to turn the two musicals into digital productions where everyone looked as if they were performing at one time on the same stage.
Beauty and the Beast Jr (A Performer’s School production by Marston McCoy Media
The kicker was that everyone couldn’t be filmed at once. CDC and Illinois Covid protocols meant keeping everyone safe with separate rehearsals, separate costuming, separate dance moves and separate singing, but it all had to look like one show, one backdrop, one taping.
Sullivan had already been working with them on workshops and knew they needed a way to present the musicals.
In 2020 Elizabeth and I sat in our basement to experiment. We didn’t want something as bland as zoom. Then Elizabeth, sang “One Day More” for a demo to show what is possible,” said Sullivan explaining that his wife, Elizabeth Telford, was a musical theater performer who had done several shows Marriott and around Chicago.
“I sent to The Performer’s School. They said they were thinking of doing Les Mis. So we all took a risk,” he said.
“Peter came to us and said he had this idea on how to make it happen,” said Flaster. She added, “We were willing to take a chance. So we all just dived in.
“We presented it to the students. They all said yes!” said Fauntleroy.
The students involved are 26 fourth and fifth graders in Disney’s Beauty and the Beast Jr. and 40 sixth through eighth graders in the school edition of Les Miserables.
What comes across when watching either of the completed productions is that the youngsters could easily go on to post college or academy careers in musical theater. Past Performer’s School students have performed on Broadway, in regional theaters and commercials.
The P:erformer’s School founders Stacey Flaster and Liz Fauntleroy,
Flaster and Fauntleroy, explained that talent agencies, casting directors and local theaters often ask the school to suggest students for particular shows and roles.
The two school founders are themselves, veterans of Chicago area musical theater who then went on to teach workshops before founding their school eight years ago.
They noted that some of the students just enjoy performing while others are very talented, have agents already and often go on to related fields in college.
The back story is that after a few months of experimentation and six months of multiple takes of each cast member in front of the type of screen similar to one used by TV weather forecasters, the results were two astounding productions.
“It’s not like zoom. It’s a cinematic experience,” said Flaster.
Elizabeth Telford, baby McCoy and Peter Marston Sullivan (Photo courtesy of Marston McCoy Media
Sullivan explained the process as “long” “complicated” and “layering.”
“We record the performers individually in front of a green screen then edit that so they appear to be together,” he said. “There are multiple takes with each kid, then they are cut out and all put together so then when we animate it feels like a movie.”
He added, “My wife had the great idea to have them looking where they would in a scene. So, in one take Jean Valjean would be looking left toward Marius (Pontmercy) who would be looking right in his take.”
He then edits the tapes and stacks them one behind or in front of another. “It’s hard. ‘One Day More’ took two weeks to edit,” he said. Then added, “The battle scene is amazing. It’s really layered editing, like animation.”
Sullivan said kudos had to go to TPS Music Director/editor Jeff Poindextor, “The orchestral track was all done at Marriott’s large rehearsal warehouse,” and to other staff of The Performer’s School who worked on the project.
“It’s hard, but what you see is cool. People will see what is possible,” said Sullivan. “And what was done with the students is amazing. They learned a whole different medium. The shows were perfect for film and the kids see themselves as movie stars. They’re glowing.”
Bella, Mary Beth Fisher and Christopher John Drea, in Adam Rapp’s ‘The Sound Inside’ streaming live from Goodman Theatre. Photo by Cody Nieset)
3 stars
“The Sound Inside,” by Adam Rapp, the Jefferson Award winning and Pulitzer Prize nominated playwright of “Red Light Winter,” is a perfect choice for Goodman Theatre’s first live performance on its Owen Theatre stage.
A 90-minute drama that will have audiences wondering what happens next, the play follows the high intensity interaction between a Yale professor who teaches a writing class and a student.
The difference in watching this play from last year’s pre-pandemic, in-person shows and the streaming plays mounted in 2020 and still going on, is that the audience is not filling Owen’s seats and that the action is not pre-taped.
Viewers are at home watching the action as it happens. (Camera angles are important and included in the photos)
Because some scenes seem to be wordy and others might make audiences who think too much information might want to fast forward, which of course, they can’t, the fact that this is live is actually good.
What may sound like background information is crucial to the psychological buildup behind each character’s behavior, responses and the play’s conclusion.
The characters are Bella Lee Baird, interpreted brilliantly by Mary Beth Fisher as a 50-something creative writing professor who is struggling with a recent diagnosis of stage 2 cancer, and Christopher Dunn, superbly played by John Drea as an antisocial, anti- technology freshman in her Reading Fiction for Craft course.
Christopher sees Twitter as an outlet for those people “scared of loneliness.” Bella who somewhat narrates the actions, describes herself as unremarkable and the equivalent of a “collectible plate on the wall.”
Not so incidentally, Rapp’s mother’s maiden name was Mary Lee Baird. She died in 1997.
Director Robert Falls cloaks the opening scenes in darkness. They mirror Bella’s mood as she describes the dark park where she comes at night when she can’t sleep. She says the park is “filled with trees that look arthritic.”
Bella then recalls her mother’s illness and death and wonders what she could have done wrong to bring on cancer because she eats healthfully and doesn’t overdo anything.
The scenes between the two characters contain a minimal number of props and lighting so that the audience can focus on Bella’s and Christopher’s changing relationship and the information slowly released about a book he is writing and about a book Bella wrote.
Among the worrisome and telling features of “The Sound Inside” is that both books are tragic and that Christopher believes good, successful authors commit suicide. He names several.
Another telling point is Christopher’s response to Bella’s use of Dostoyevsekyh’s “Crime and Punishment” to discuss antiheros as in the murder of the pawnbroker and his sister. Christopher cries, “Someday, I’m going to write a moment like that.”
“The Sound Inside,” is streaming live from May 13 –16. Running time: 90 minutes.
“Ohio state Murders’ streams live June 17-20. “I Hate It Here streams live July 15-18, 2021. Individual tickets are $30. Three productions tickets with a Live Membership is $60..
