Category: Theater

Noises Off might not be your cup of tea

 

James Vincent Meredith, Rick Holmes, Amanda Fink and Audrey Francis in "Noises Off" by Steppenwolf Theatre Company. (Michael Brosilow)

James Vincent Meredith, Rick Holmes, Amanda Fink and Audrey Francis in “Noises Off” at Steppenwolf Theatre Company. (Photo by Michael Brosilow)

Recommended

 A rather incompetent troupe of actors are expertly portrayed by a considerably expert cast in Steppenwolf’s revival of Michael Frayn’s classic British comedy, “Noises Off.”  Directed by Anna D. Shapiro the farce kicks off the ensemble theater company’s 49th season.

“Noises Off” is a three act play within a play spoofing the genre of the popular mid-century English drawing room comedy while simultaneously poking fun at the actors and crew that produced them.

In our first act, director Lloyd Dallas (Rick Holms) labors valiantly to guide his cast through the dress rehearsal of this unknown play. It is immediately obvious that the cast is having serious difficulties remembering their stage directions and lines while struggling to understand the motivation behind their character’s activities.

In Act II we experience, essentially, the same first act but from a backstage perspective where it has become increasingly clear that during their time on the road interpersonal dramas between and amongst the cast has led to further confusion on stage and beyond.

The term “noises off” refers to noises heard offstage but ironically much of this act is done in very energetic pantomime.

Ora Jones, Francis Guinan, Rick Holmes, Audrey Francis, Amanda Fink...

Ora Jones, Francis Guinan, Rick Holmes, Audrey Francis, Amanda Fink and Vaneh Assadourian in “Noises Off” at Steppenwolf Theatre Company. (Photo by Michael Brosilow)

In Act III, the characters’ acting has not improved and neither has the relationship of the company as the play devolves into hilarious chaos.

This is broad comedy not unlike a television sitcom full of sophomoric jokes and slapstick physical humor. In this way it is just pure laugh-out-loud fun which this opening night audience seemed to appreciate and enjoy. But it might be safe to say that this may not be everyone’s cup of tea.

Conceived in 1970 and first performed in 1982, the humor is largely derived around poking fun at the quickly fading middle class morality and the stuffiness of the 1950s exemplified by a woman in underwear with falling pants, nose bleeds and false pomposity, plus, allusions to the high tax rate in the U.K. that was causing people to flee the country.

I saw “Noises Off” about thirty years ago and my recollection was that I thought it was okay. I was anxious to see if my opinion had changed. Essentially it has not. It’s fun. It’s funny. But with one or two exceptions it is not the kind of humor that makes me laugh out loud.

The character of Garry Lejeune (Andrew Leads) has an unmistakable, scattered, John Cleese (Fawlty Towers) vibe which is quite comical and a kind of staple of the period – a fellow who is outside his depth and working earnestly to participate in things often beyond his understanding or ability.

The well-constructed, attractive set designed by Todd Rosenthal is a Tudor style country house with many doors offering an opportunity for much coming and going typical of a farce. It definitely contributes to the confusion and comedy.

The genius of “Noises Off” is the rapid pacing and repetition which is why I believe this play is attractive to actors. Much of the same dialog is repeated in each act but each time with much different action going on that requires a wide range of performance skills.

In the end, I recommend seeing this because it is simply a laugh-a-minute classic comedy well performed but with the caveat that the broad humor might seem dated and too obvious for some.

DETAILS: “Noises Off” is at Steppenwolf Theatre, 1650 N Halsted Street, Chicago, IL, through November 3, 2024. Runtime: 2 hours 40 minutes with 2 intermissions. Fir tickets and more information visit Steppenwolf.org.

Reno Lovison
For more shows visit Theatre In Chicago.

Must see this amazing show at Writers Theatre

“Natasha, Pierre & the Comet of 1812” at Writers Theatre with cast and Evan Tyrone Martin, center, as Pierre. (Photo by Liz Lauren)

 4 stars

The title, “Natasha, Pierre & the Comet of 1812,” doesn’t offer a clue that this show, taken from a segment of Tolstoy’s “War and Peace,” is not a play but an operetta. Just don’t expect only classical music.

Writer/composer Dave Malloy has created a witty, period piece worthy of any opera house but he combines a variety of musical beats including hip-hop. And, instead of hidden in a pit, the orchestra is up high, divided into stage left and right boxes.

Magnificently sung with grand costuming by Raquel Adorno and backed by inspired scenery design by Courtney O’Neill, “Natasha…” looks and sounds like an award winner. The Broadway production won two Tony Awards in 2017.

 

A young woman and a man stand in profile facing each other. She has long dark hair gathered at her neck and wears a white dress with a tapestry shawl. He has dark hair gathered in a bun with white streaks on top of his head and wears a red frock coat with a large embroidered heart visible on the back.

Aurora Penepacker (left) as Natasha and Evan Tyrone Martin as Pierre. (Photo by Liz Lauren)

Basically, a romantic tale of looking for love (and sometimes sex), the operetta is set in the upper society of Moscow in 1812 where a naive Natasha waits for Andrey (Matthew C. Yee) to whom she is engaged, to return from the Napoleonic Wars.

It starts off with Mary (Julia Wheeler Lennon) trying to care for hers and brother Andrey’s ornery father, Prince Bolkonsky (Rob Lindley). 

But wait, there are also some fun and well sung “arias.”

In Act I, a dissolute Pierre (Evan Tyrone Martin) brings the house down with his soaring “Dust and Ashes.” In contrast, in Act II Maya Rowe as Natasha’s friend and cousin Sonya, beautifully sings “Sonya alone.”

Working their magic behind the scenes are director /choreographer Katie Spelman and music director Matt Deitchman, the duo from Writers Theatre’s award winning “Once.”

DETAILS: “Natasha, Pierre & the Comet of 1812,” is at Writers Theatre, 325 Tudor Ct. Glencoe, now through Oct. 27, 2024. Running time: 2 hours plus one intermission. For tickets and more information visit writerstheatre.org, and call (847 242-6000.

Jodie Jacobs

For more shows visit Theatre in Chicago

Superb voices and music plus creative staging make Rigoletto a must see

 

Igor Golovatenko sings the title role in "Rigoletto," with Mané Galoyan as Gilda, in Lyric Opera's current production of the Verdi classic.

Igor Golovatenko as Rigoletto and Mané Galoyan as his daughter, Gilda, at the Lyric Opera of Chicago. (Photos here by Todd Rosenberg)

 

Four Stars

Even non-regular opera goers would recognize “La donna è mobile.” Among the genre’s most famous arias, it is sung by acclaimed Mexican tenor Javier Camarena making his Lyric Opera debut as the Duke of Manua in Verdi’s Rigoletto. It translates as “Woman is fickle.”

But audiences have to wait for it. The opera has several good arias appreciated by the audience. However, “La donna è mobile” comes in Act III.

Instead of fully turning the lights on and off, director Mary Birnbaum, artistic director of Opera Saratoga and also new to the Lyric, has divided Act II into basically two scenes.

That works beautifully with the dark and tense mood she has created in what is an exceptional Lyric production. The second scene becomes Act III which takes place at a dwelling owned by an assassin.

The aria sums up one of the opera’s two main themes – the duke’s attitude towards women and that vengeance is dangerous.

 

(The Duke’s palace)

They bring down Rigoletto, the Duke’s hunchback jester sung by Russian  baritone Igor Golovatenko who appeared at Lyric as Rodrigue in Don Carlos, and Rigoletto’s daughter, Armenian soprano Mané Galoyan who makes her Lyric debut as Gilda, the lass who falls for the Duke when he comes to her disguised as a penniless student.

Both are outstanding in their vocal and acting interpretations. Plus, Gilda gets her own aria, “Caro nome” in Act I, (“Caro nome che il mio cor” (Sweet name that made my heart) that sets her character in spite of the Duke’s later betrayal of her love.

Originally a Victor Hugo play called Le roi s’amuse (“The King Amuses Himself”) Verdi turned the story into a drama-tragedy that moves back and forth between the Duke’s frivolous loves and lifestyle and Rigoletto’s hatred of that lifestyle and his worries about the previous Duke’s curse. Indeed, one of the early titles to this opera referred to the curse.

Add in Rigoletto’s over-protected, naive daughter and audiences know this can’t end well.

Conducted by Music Director Enrique Mazzola with superb insight and shading, the Lyric Orchestra skillfully brought out Verdi’s perfectly colored contrasts in mood during the story’s fateful progress. Kudos also to the entire company

In addition, the opera’s contrasting atmosphere was enhanced by costume designer Jane Greenwood and set designer Robert Innes Hopkins. 

Details: “Rigoletto” is at the Lyric Opera of Chicago, 20 N. Wacker Dr., Chicago specific times now through Oct. 6, 2024. Language: Sung in Italian with projected English titles. Running Time:2 hours and 35 minutes, including 1 intermission. For tickets and more information visit Lyric Opera.

Jodie Jacobs

For more shows visit Theatre in Chicago

 

Love and marriage are all in an extended family in the hilarious ‘The Cottage’

 

L-R   Joel Ottenheimer, Shannon Bachelder, Melody Rowland, Elizabeth Bushell (Standing), and Philip J. Macaluso. (Photos by North Shore Camera Club)

 

Four Stars

You practically need a score card to keep track of who is doing “it” with whom even though two brothers and their current and past lovers and spouses all makeup somewhat of an extended family. They all pop into “The Cottage,” a small but attractive country house 90 minutes outside of London.

The year is 1923. The tone is that of a British farce but don’t expect a strong English accent or a lot of popping in and out different doors. Guests properly enter from the front door.

What we have is a very funny play by Glenview native Sandy Rustin that has come to Citadel Theatre in Lake Forest straight from its Broadway run.

At first, we see the morning after a once-a-year affair between Sylvia (Elizabeth Bushell) and her brother-in-law, Beau (Philip J. Macaluso). Before Beau can dress and leave for his office others in this casual, but unanticipated gathering come knocking at the door.

First to pop in is Beau’s regular lover, Dierdre (Melody Rowland) because Beau’s office told her he could be found at the family Cottage. Next to stop by are Beau’s brother, Clarke (Joel Ottenheimer), with his sister-in-law, Beau’s wife, Marjorie (Shannon Bachelder). Sylvia, who’s slightly ditsy, thinks she may have sent a telegram to Clarke about wanting a divorce.

They hear Diedra’s husband, Richard (John Dooley), knocking on the door. The problems now is that Sylvia said her first love was called Richard but she believes he died and Diedra admits that her Richard keeps killing her lovers.

And so, Act I ends with everyone hiding and Richard coming in with a gun.

 Well directed by Jack Hickey, the entire cast is terrific. In addition, there is superb scenic design by Eric Luchen and properties design by Audrey Tieman. The house is charming and those cigarettes that Beau keeps snagging turn up everywhere.

No letting on here what happens in Act II. Go see this wonderful, comic play but don’t tell anyone else what happens. 

Details: “The Cottage” is at Citadel Theatre, 300 S. Waukegan Rd., Lake Forest, IL now thro0ugh Oct. 13, 2024 Running Time: Two hours. For tickets and other information visit Citadel Theatre.

Jodie Jacobs

For more shows visit Theatre in Chicago.

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.

12 - Tyrick Wiltez Jones, Heidi Kettenring.png

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.

  1. 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

 

 

 

 

 

Wells and Welles is a war of words

 

Wells & Wells

Highly Recommended

Two great minds collide over “A War of the Worlds.”

In 1938, twenty-five-year-old (George) Orson Welles became famous after his radio play based on this book shook the airwaves, purportedly nearly causing national panic.

The book’s seventy-five-year-old author, H.G. Wells, was not amused at how his intellectual property was, in his mind, misused without permission.

Based on an actual encounter in 1940 the two men, Wells and Welles, both happened to be on lecture tours finding each other in San Antonio, Texas on the same rainy night.

Done by Lucid Theater at City Lit, the production perfectly captures the moment in “Wells and Welles” when a young Orson Welles (Gerrit Wilford) arrives hat-in-hand at the motel room of H.G. Wells (Pete Blatchford) to – as he says – “bury the hatchet.”

The older Wells sees little need for further discourse as he has already agreed to drop any potential legal proceedings and makes it clear that, as the author of over fifty books, he considers the younger man’s endeavors in radio and film to be of little artistic value and simply sensational and crude.

Wells mentions in passing that he considers himself a journalist. Seizing on this insight Orson manages to get the author’s attention with a summary of a film he is working on called “Citizen Kane.”

The story is based loosely on the life of media magnate William Randolph Hearst. But in reality, it is about a man who seemingly has it all. However, in the process, has lost everything that is most dear to him.

The ensuing conversation involves the perception of age, youth versus experience, and using artistic expression to share a vision of the future but also as a means to fulfill one’s perceived personal destiny.

As the play progresses, we gain insight into the lives and minds of both men. We find Welles has an ulterior motive. Whether or not it can be fulfilled is where the tension lies in this soft-spoken clash of intellectual titans.

The exceptionally well written dialogue by Chicago playwright Amy Crider is superbly performed by Blatchford and Wilford. Produced by Lucid Theater, it is the type of smart, emotional, intimate theater that is particularly well suited to City Lit.

Nicely directed by Amber Mandley, the pacing is excellent and the players move thoughtfully and meaningfully around Kevin Rolfs’ set design depicting the motel room of H.G. Wells. Technical director Alvaro Ledesma’s lighting and sound design did an effective job of setting the rainy evening ambience. 

Blatchford is a veteran Chicago actor who has performed in Scotland. His British accent is flawless.

Based on what I know of Welles, it is notable to say that the large fedora with matching topcoat, generally impeccable attire and the fastidious grooming of Wilford immediately made me believe I had encountered Orson Welles.

This world premiere play has national, indeed worldwide appeal and should be readily snapped up by other smaller theaters around the globe and acting pairs looking to showcase their abilities to embody two interesting and thought-provoking characters.

Details: “Wells and Welles” is at City Lit, 1020 W. Bryn Mawr Ave., Chicago, through August 11, 2024. Running time is 70 minutes with no intermission. For tickets visit Eventbrite.

Reno Lovison

For more reviews visit Theatre In Chicago

 

Double the pleasure at Northlight

 

Matthew McGloin and Adam LaSalle as dueling musicians in “2 Pianos 4 Hands” at Northlight Theatre (Photo by Liz Lauren).

Highly Recommended

It’s a play. It’s a concert. It’s a little bit of both. Recently extended until August 11, 2024, “2 Pianos 4 Hands” is a satisfying romp through the lives of two ambitious musicians who long for stardom in a highly competitive industry. 

Actors/musicians Adam LaSalle as Ted and Mathew McGloin as Richard, play a range of characters in this humorous, entertaining and poignant show. What they have in common is their quest for excellence on the keys.

The characters tell stories of pushy parents, maniacal teachers, and challenging professionals who bar their entry for further training.

In one scene, they’re both music students competing with each other for the top prize. In another, they act as piano teachers, complete with Italian and French accents.

In another scene, they play parents on both sides of the spectrum. One encourages his son to practice 30 minutes a day. The other criticizes his son for the amount of time he spends practicing at the risk of a normal childhood.

As someone who took piano lessons for many years, the play took me back to the long days of practicing scales and arpeggios, with hands cupped in the right position. And, banging on the piano when I couldn’t get it right, just like they did.

“2 Pianos 4 Hands” includes a treasure trove of classical music from Bach, Beethoven and Mozart as well as popular hits by Billy Joel, Elton John and John Lennon.

Luckily for the audience, their mastery of the piano is over-the-top and we get treated to an outstanding performance.

Written by Richard Greenblatt and Ted Dykstra, the show was directed by veteran actor/director Rob Lindley who says, “Sometimes you must adjust your dreams, never giving up on them. Be the best you can be today and keep working to be better.”

The play was originally produced in 1994 with the authors performing in their respective roles for more than 30 years. “2 Pianos 4 Hands” is simply timeless.

Details: “2 Pianos 4 Hands” is at the Northlight Theatre in the North Shore Center for the Performing Arts, 9501 Skokie Blvd in Skokie. Running time: 2 hours, 30 minutes with one 15-minute intermission. For tickets and information, visit Northlight Theatre | 2 Pianos 4 Hands or call the box office at (847) 673-6300.

Mira Temkin

For more shows visit Theatre In Chicago.

 

 

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

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