Theater – Page 2 – Chicago Theater and Arts

For Love and Money

(L-R) Molly Griggs, Wesley Taylor, Bryce Gangel, Luigi Sottile, Jordan Lage.(Photo by Todd Rosenberg)

Highly Recommended

For Love and Money

“Holiday” at The Goodman is a fresh world-premiere adaptation of the classic boy meets girl – – boy meets girl’s sister. A romcom by Richard Greenberg, it is based on the original 1928 version by playwright Philip Barry and features an outstanding cast.

A drawing room drama in two acts, it takes place in the opulent uptown home of Edward Seton III (Jordan Lange) an extremely wealthy New York banker. His wife has died and he is the patriarch of an old money family with three adult children.

This is a story about familial love, romantic love and sexual attraction as well as the influence of money, and in both cases those who have too much, those who do not have enough, and those who want more.

Idealistic up-and-coming young attorney Johnny Case (Luigi Sottile) recently met Julia Seton (Molly Griggs) at a New-Age retreat where they spent some extended time together, fell in love and impulsively became engaged.

Julia is a driven entrepreneur owner of a boutique fashion line who neglected to tell Johnny about the fact that she is associated with this extremely wealthy family. This is a fact Johnny has to come-to-terms with just as father Edward has to consider whether this new fiancé is actually a gold-digger.

Julia’s siblings include her substance abusing brother Ned a/k/a Edward Seton IV (Wesley Taylor) who is the primary reason alcohol is not allowed in the house except during holidays. This is apparently from where the play’s name is derived. Their sister Linda Seton (Bryce Gangel) is an artist who lives in Brooklyn where she also works with children.

Linda is torn between two worlds which keeps her at odds with her father who feels rejected by her lifestyle choices. She loves Julia, though she feels the aging debutante is shallow and too dependent on her wealth.

Both sisters are protective of brother Ned though Julia wants to fix him while Linda wants to nurture him back to health. Of course, Edward feels Ned simply needs to stop his nonsense and apply himself to his work.

Drunk roles can be difficult and cringy but Taylor performs Ned with sympathetic perfection achieving a delicate balance of a person teetering on the edge of destruction with just enough control to keep him from being obnoxious or comical.

Disconnected from reality and inhibition Ned is the one most able to see and speak the truth around them. This makes him something of a fool or a shaman. In a desperate need for insight and understanding of her own feelings, Linda asks him to describe in detail what he experiences in his drunken stupor as she considers whether she wants to go there – – either to escape or find answers.

Ultimately this is a love triangle that forces each member of the triumvirate to consider what kind of life they really want. It’s like a road trip where you know the destination but how you get there is the fun part. At one point the sexual tension was so great that when it was released the audience audibly responded.

The dialogue is real and the adaptation by Greenberg deftly introduces modern elements such as cellphones, the Internet, Uber versus Lyft, Instagram, and Door Dash as well as other linguistic transformations and social evolutions that did not exist in 1928. On the contrary what is amazing is how little has actually changed in the way of social interaction and societal relationship to love and money.

Directed by Robert Falls, the pacing was impeccable. The first act seemed to fly by. I was so engaged in the action that I was actually astounded when it had concluded, after a very typical one hour.

The set design of Walt Spangler was spectacular. As the curtain opened revealing the understated grandiose interior of the Seton Family residence with the particularly well rendered portrait of founding progenitor Edward Seton the first, it was obvious we were in for an interesting story.

Costumes by Kaye Voyce included an ensemble of boho chic for Linda and more sophisticated dresses for Julia while Ned lounged around in essentially the same mismatched jog pants and rumpled shirt, indicating he probably never changed his clothes.

Voyce probably had the most fun with the nearly outlandish attire of Laura and Seton Cram (Alejandra Escalante, Erik Hellman) two over-the-top cousins who arrive for lunch from Palm Beach and later help to fill out the all-important Holiday party.

Walter (Rammel Chan) is the long suffering household cook responsible for catering the luncheon and Holiday dinner.

Other guests include the caftan clad Nikka Washburn (Christiana Clark) and Susan Feld (Jesse Fisher) presented in this adaptation as an interracial lesbian couple where Feld incidentally is Jewish as well, so Greenberg covers a lot of territory with these two.

It turns out that both Johnny and Linda are acquainted with Washburn and Feld which becomes a literal point of connection between them. The couple represent everything that the Setons are not.

Before attending I asked myself why is Goodman reviving this 100-year-old play and why now? Well, it is the 100^th Anniversary of The Goodman and in short except for the wrapper it seems interpersonal relationships have not changed much.

I may be a bit old fashioned but this production is the gold standard of everything I feel traditional theater should be. In this era of obligatory standing ovations this very appreciative audience leapt to their feet in unison at the conclusion of the performance.

Details: Holiday is at The Goodman – Albert Theatre 170 N Dearborn, Chicago through March 1, 2026. For tickets and information call (312)443-3800 or visit goodmantheatre.org.

Reviewer: Reno Lovison

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

A Christmas Carol is a joyful tradition

An older man in Victorian clothing and top hat stands in front of a holiday wreath with the text "Holiday Joy Past, Present, Future" on a snowy background.

Highly Recommended

Coca-Cola may have codified our image of Santa but Victorian author, Charles Dickens taught the world about the spirit of Christmas. The Goodman Theatre has continued that lesson in Chicago for 48 years.

Part of the success and charm of this tale is its simple elegance. The story is easy to understand even by the youngest theater goers yet it does not talk down the audience. It’s a kind of secular parable with a strong moral lesson to change your ways before it’s too late.

Originally published as a novella in 1843, it was first adapted for the stage just one year later by Edward Stirling. Subsequent adaptations, including this one by Tom Creamer, do not stray far from the source including much of Dickens’ own original dialogue.

The unique contribution of The Goodman tradition has been to broaden the universality of the message through colorblind, gender neutral and mixed ethnic casting as well as incorporating the use of American sign language. It provides a chance for virtually everyone to see themselves in the characters on stage while reminding us that we are all a part of a larger world.

The central character is Ebenezer Scrooge (Christopher Donahue), a wealthy businessman of advanced years whose name through his actions and discourse has become synonymous with self-centered miserliness.

When asked to donate to the less fortunate Scrooge asks, “Are there no prisons? … And the Union workhouses, are they still in operation?” When told many would rather die than have to go to the various institutions, Scrooge replies, “If they would rather die, they had better do it, and decrease the surplus population.”

Dickens teaches us, through Scrooge, about the spirit of Christmas quite literally using spectral visitations. The first is the deceased former business partner of Scrooge, Jacob Marley (Daniel Jose Molina). He reveals that Scrooge is to be visited by three additional ghosts representing present (Bethany Thomas), past (Lucky Stiff) and future (Molina).

In each subsequent period we experience the life and fate of Scrooge’s long-suffering clerk Bob Cratchit (Jon Hudson Odom) who has been sorely used by his employer yet somehow manages to retain an optimistic view and joyful demeanor.

We also get a glimpse into Scrooge’s own personal life including his relationship with his own family and past acquaintances.

In the end, Scrooge is confronted with his own fate and the potential fate of those whose lives he affects, most notably the Cratchit family including the ailing youngster, Tiny Tim (Ella Boparai).

I am a Dickens fan and have read most if not all of his popular works and seen many film and stage adaptations. What I love about him is his attention to detail. He was a keen observer of people and the world around him.

He was a quintessential chronicler of the Victorian period and a champion of human rights that made a significant impact by drawing attention to the needs of the lower classes in England and particularly the needs of poor and neglected children.

As a reviewer I find it difficult to comment on the interpretation of the individual players in this production because Dickens does such a fine job of defining his characters that a capable actor need only crawl into the suit and perform what he is given.

That said, it certainly can be done badly but when done well, as is the case with this cast, what we see is the actor’s own humanity bleed through.

Donahue’s Scrooge is not like every other Scrooge I’ve seen nor is Odom’s Cratchit. Rather what I see are the aspects of Donahue’s own personality that is most like Scrooge and likewise Odom’s personal relationship with Cratchit.

I suppose this is what every modern actor is hoping to achieve. Whether Hamlet, Willie Loman or Scrooge these characters are so well crafted that they meld together with the actor and in turn with the audience because we see ourselves in each of these archetypes.

It’s easy to say that in today’s political and social climate this year’s version has particular significance but the genius of this story is that the social ills that confront us have been here for time immemorial.

However, Dickens reminds us that we do not have to change the world we only need to reach out to the persons closest to us to affect a modicum of change for them.

Holocaust survivor and author Elie Wiesel helped to popularize the Talmudic phrase, “Whoever saves one life, it is as if he has saved an entire world.” Matthew 25:40 quotes Jesus as saying, “Truly I tell you, whatever you did for one of the least of these brothers and sisters of mine, you did for me.”

A Christmas Carol is a familiar story to many who may have seen other stage versions or any of the popular movie versions including a number of modern adaptations and even animations.

For this reason, I consciously avoided The Goodman tradition for far too long, feeling I would rather not revisit this chestnut again. Well, I was wrong! The Goodman staging of A Christmas Carol is an exciting and satisfying visual extravaganza that incorporates all manner of stagecraft with technologies old and new, while retaining the essential aspects of the original.

In this way a modern audience will find what they desire while the purists (like me) will find their familiar favorite elements still intact. I guess I have discovered and transformed the Scrooge in me.

Marketing materials for various products often promise, “It will bring out the child in you.” This production absolutely does it. Likewise, it is indeed “fun for the whole family.”

Details: “A Christmas Carol” directed by Malkia Stampley is at The Goodman, 170 N. Dearborn Street, Chicago, IL through December 30, 2025. Runtime is about 2 ½ hours with one intermission. Visit goodmantheatre.org for tickets and information

Reviewer Reno Lovison

For more reviews visit Theatre in Chicago

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Much Ado at Chicago Shakes is worth the fuss.

Highly Recommended

Performed in modern dress using original Elizabethan vernacular, Much Ado About Nothing is a quintessential Shakespeare comedy that has a little something for everyone. It’s a perfect show for groundlings who might appreciate that it is not too complex and at times borders on slapstick. It’s a humorous love story with a touch of drama that pokes fun at everyone no matter their rank.

The setting is the courtyard of the estate of the Governor of Messina, Leonato (Kevin Gudahl) where Prince Don Pedro (Debo Balogun) arrives with his crew, including his right-hand man Benedick (Mark Bedard) and fellow soldier Claudio (Samuel B. Jackson) who are greeted enthusiastically by Leonato’s daughter Hero (Mi Kang) and niece Beatrice (Deborah Hay).

Claudio is immediately smitten with the beautiful Hero and soon expresses, to his comrades, his desire to “take her to wife.” He is encouraged by the worldly-wise Don Pedro but utterly derided by Benedick who declares, “That a woman conceived me, I thank her; that she brought me up, I likewise give her most humble thanks…all women shall pardon me… [but]I will live a bachelor.”

Hero is likewise enamored of Claudio but like Benedic, Beatrice declares her desire to remain single saying, “I had rather hear my dog bark at a crow than a man swear he loves me.”

This sets up the dual love story whereby Hero and Claudio plan to wed while he, Don Pedro and Leonato conspire together with Hero’s maid Margaret (Tiffany Scott) and lady-in-waiting Ursula (Felicia Oduh) to set a trap that will unite the resistant Beatrice and Bendick. Hero says, “Some, Cupid kills with arrows, some with traps.”

In the meantime, Don Pedro’s bastard brother, the joyless Don John (Erik Hellman) plots with his accomplice Borachio (Yona Moises Olivares) aided by Conrade (Colin Huerta) to confound the marriage of Hero and Claudio – – primarily because in his own misery he can’t stand to see anyone happy.

Two men of the watch (Suzanne Hannau and Joey Chelius) charged with keeping the peace through the night inadvertently uncover Don John’s plot.

The hilariously bumbling constable Dogberry, (Sean Fortunato) laboriously explains the plot to Leonato through a series of malapropisms and confusions, ultimately driving the resolution of the tale with the aid of Leonato’s brother Antonio (Jeff Parker) and the friar (Jaylon Muchison) who manage a scheme to make all things right.

The simple elegant two-story courtyard set design by Tom Piper was very effective in providing a range of entry and exit points that kept the action interesting and surprising.

Directed by Selina Cadell, this was a very enjoyable performance where the players and the audience all seemed to be having a great time. The inclusion of a small ensemble of musicians added to the lightness of the production by interjecting some musical merriment between scenes.

Details: Much Ado About Nothing is presented by the Chicago Shakespeare Theater Company in their Courtyard Theater on Navy Pier, Chicago through December 21, 2025. Run time is about 2 hours and 25 minutes with one intermission. For ticket and information visit ChicagoShakes.com

Reviewer: Reno Lovison

For more shows 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 19^th 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

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Family history takes a strange twist

Beverly, Jimmy, Clara and Ruth learn the truth about their statue.

Recommended

Nice image used for the play’s ad but wait until the end of the show at Citadel Theatre to decide who the statue is. Even the title is misleading.

The 90 minute show now on stage at the tiny but award-winning theatre in Lake Forest, IL, introduces audiences to the Nowaks of Buffalo, NY.

A close-knit family where mom, Clara (Naomi Hershman, a pious Catholic, two adult daughters, Beverly (Loreli Sturm) and Ruth, (Mindy Shore), and adult son, Jimmy, (Robert Wood Frank, live together, they are all on the edge of going in different directions partially because of a death-bed reveal.

The “kicker” comes near the end of the show when they learn the statue outside that was commissioned by their grandfather is not the Virgin Mary.

Directed by Scott Shallenbarger, the actors voices and actions may seem overblown but half an hour into the show, you get used to this family’s dynamics.

Written by Tom Dudzick (author of “Over the Tavern Trilogy”) the play’s timing fits right in with the spirit of the season.

DETAILS: “Miracle on south Division Street” is at Citadel Theatre, 300 S. Waukegan Rd., Lake Forest, IL, now through Dec. 14. 2025.

Jodie Jacobs

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

A Madkap Thriller

Michael Lomenick and Jeanne Dwan in “Deathtrap” at Madkap Productions

Ira Levin’s, circa 1978, now classic DEATHTRAP by Madkap Productions in Skokie, will ensnare you in a web of illusion and deceit with enough humor to take the edge off the murderous treachery taking place before your eyes.

The Sunday afternoon performance I attended was presented in front of a very appreciative packed house with only a handful of seats unoccupied.

Director Christa Retka did a commendable job orchestrating her team of five actors though this drawing room black comedy bordering on melodrama.

Michael Lomenick and Jeanne Dwan were perfectly believable as Sidney and Myra Bruhl a comfortable middle-aged couple who in the course of playful conversation find themselves plotting the murder of budding playwright Clifford Anderson (Beck Damron) in hopes of stealing his manuscript.

Famed psychic Helga Ten Dorp who has taken up temporary residence nearby has a premonition that threatens to expose the Bruhl’s plans.

The character of Helga is humorously played by BEKA who joins Madkap offering an expert performance after a seven-year hiatus from live theater while working on a number of Indie film projects.

Aidan Sternberg appears as the observant and attentive family attorney Porter Milgrim.

I’m reluctant to say more about the plotline as it has a number of surprises that border on genius.

This comedy-thriller is indeed “Madkap” fun employing startling special effects on a retro inspired set design by Brian Wasserman with lighting by Pat Henderson.

Details: “Deathtrap” by Madkap Productions is at Skokie Theatre, 7924 N. Lincoln Ave., Skokie, IL through November 23, 2025. For tickets visit SkokieTheatre.org or call 847-677-7761

Reviewer: Reno Lovison

For more shows visit Theatre in Chicago

A struggle to control destiny

HIGHLY RECOMMENDED

The House That Will Not Stand at Invictus Theatre Company is a compelling exposé of racism and misogyny representing several vertebrae in the backbone of our country. These are fundamental defects baked into the DNA of the nation with repercussions passed forward through generations.

Taking place in New Orleans circa 1813, the dialog skillfully explains that with statehood, the status of many free people of color and those of mixed-race heritage is going to change. Previous Spanish and French colonial laws were more liberal in regard to property rights, inheritance and manumission. Each of which are topics explored within this powerful production.

At the center is matriarch Beartrice Albans (Britt Edwards) the mixed race placée or concubine of the now deceased white patriarch, Lazare (Ron Quade) lying in repose on the dining room table.

In mourning are the couple’s three daughters Agnes (Kaylah Marie Crosby), Maude Lynn (Sierra Coachman) and Odette (Alysia Slade), also Beartrice’s troubled sister Marie Josephine (Jimiece Gilbert), as well as the matriarch’s visiting frenemy Madame La Veuve (Sandra Adjoumani) and including the household slave woman Makeda (Shenise Brown).

As the story unfolds, we learn that the family’s inheritance and the freedom of the women are at risk as a result of Lazare’s death.

Meanwhile, the young ladies yearn for more independence from their demanding and overbearing mother. They eventually conspire to sneak away to the upcoming ball where they might have the opportunity to meet a wealthy white man and affect a plaçage relationship that would provide for their future.

In the midst of their scheming, Agnes who is burning to find love, suggests that she will have the best chance of success because she is lighter skinned and therefore more desirable.

The beating heart at the core of the tale is Makeda, housekeeper, nanny and confident to all. She is practiced in voodoo but declares she only uses it for good and does not partake in the dark arts.

All of Makeda’s actions are focused on eventually obtaining freedom for herself as she performs a number of small favors to earn the money she will eventually need.

This is one of those rare theatrical productions where the entire cast is equally matched, each actor exhibiting the very highest level of skill and maturity. Shoutout to casting director Becca Holloway who obviously has an eye for talent.

To mention the performance of one actor over another is to do each a disservice, though Edwards as Beartrice has the last word in a short powerful energetically delivered summation monologue.

Those familiar with my reviews might have noticed I am quick to fault directors for many of a production’s shortcomings; but in this case I offer full compliments to Aaron Reese Boseman for pulling together one of the best ensembles I have seen in recent years.

This is an unusually lengthy production, in excess of two hours, but runs like a well-oiled machine. The extraordinary timing of the action did not rush nor did it linger.

The pacing felt like a symphony, partly due to the melodic cadence of the creole accents aided by dialect coach Susan Gosdick, while Ronald McDowell as Man with the Bamboula contributes periodic complex background rhythms from offstage reminiscent of not-to-distant African drums.

The stagecraft was exceptional including the blocking and delivery of each performance on the substantially imposing set design of Kevin Rolfs. This was augmented by the atmospheric lighting of Levi Wilkins including a substantial number of candles and lanterns that kept us solidly rooted in the time period, as did the costumes of Terri Devine with hair and makeup by Rueben Echoles.

Boseman’s steady hand, leadership and vision are obvious throughout the production.

There can be a tendency among some theater goers to feel that Off-Loop productions are not equal to their larger downtown cousins, but this production would certainly look perfectly comfortable on the Goodman, Steppenwolf or Shakespeare stages.

As a final personal note, I happened to have visited New Orleans a few weeks ago and in fact had partaken in a walking tour of the city’s history. So, I was really feeling the vibe and particularly enjoyed seeing many of the historical references I recently learned played out in context.

This story indeed deals with some dramatic and weighty subjects but the script by Marcus Gardley is not overbearing. If you are interested in seeing an enlightening historic drama well performed don’t miss this.

Details: The House That Will Not Stand at Invictus Theatre Company of Chicago, 3014 W. Irving Park Road, Chicago, IL plays through December 14, 2025. Running Time is 2 hours and 45 minutes with one 15-minute intermission. For tickets and more information visit invictustheaterco.com

Reno Lovison

For more shows visit Theatre in Chicago

Book of Will

Somewhat Recommended

We are all familiar with the existence of books entitled the complete works of William Shakespeare and may likely have heard of priceless editions of what is called the first folio recognized as being the first compilation of his works.

“The Book of Will” by Lauren Gunderson, currently presented by Promethean Theatre Ensemble, is a fanciful, mostly humorous, fictional account of what it might have been like for Shakespeare’s friends and supporters to preserve his works for posterity.

The premise depends on the primary individuals who are referenced in the publication of the first folio. These include two fellow actors and longtime colleagues of Shakespeare, John Heminges (Jared Dennis) and Henry Condell (Ben Veatch). Both are credited with compiling and editing the plays for the Folio.

Also there are William Jaggard (Brendan Hutt) and Isaac Jaggard (Kevin Sheehan), the printers responsible for actually producing the physical book and playwright Ben Jonson (James Lewis), Shakespeare’s longtime friend and rival who wrote a dedication.

Hutt also plays Richard Burbage a celebrated actor of the time, considered to be a close collaborator of The Bard.

Another player is Ralph Crane (Jonathan Perkins) a professional scribe known for his role in transcribing and editing several of Shakespeare’s works. In addition, there are comedic roles enthusiastically played by Jesus Barajas.

This having been a largely male dominated society the ladies in this story operate primarily behind the scenes, principally in the persons of Rebecca Heminges (Anne Sheridan Smith) and Alice Heminges (Brittani Yawn) John’s wife and daughter respectively; as well as Elizabeth Condell (Sabine Wan) wife of Henry. The two wives and daughter provide insight and encouragement throughout the arduous process of identifying, procuring, editing, and producing the precious manuscript.

“The play’s the thing” and “this is the short and long of it . . . the web of [this play] is of a mingled yarn, good and ill together.”

To begin I found the script itself amusing and the premise thought provoking. After all, someone had to compile this evidently fragmented material in order for it to be bound for the benefit of future generations and I am glad of it. This accounting of what may have transpired is as good a guess as any.

Here’s where a few things went wrong. Most of the jokes are amusing but not really laugh-out-loud hysterical. The problem was a few members of the audience chose to issue loud guffaws or ear-splitting cackles. In this case it very nearly ruined the first half hour of the play for me but thankfully trailed off as the play progressed. I believe that I’ve noticed this to generally be a trend especially in smaller theaters lately and one that I hope will cease sometime soon.

The company decided not to try to perform this production with British accents which is fine, and each of the players did a fine job delivering their lines but, in many cases, there was an overall modern attitude to their delivery and comportment that I found mildly annoying within the context of this Elizabethan plotline.

“The purpose of playing… was and is, to hold as ’twere the mirror up to nature.”

Anne Sheridan Smith was the one who struck a tone and rhythm closest to what I would hope to hear. She seemed to do the best at internalizing the thoughts and feeling behind the words and speak them with heartfelt meaning. Brendan Hutt also had a theatrical comportment that seemed right for the material as did Jonathan Perkins as Crane.

I’m mixed on the performance of James Lewis as Jonson. When he recited Elizabethan texts, I could listen to his booming basso all day but the rest of his performance was too loose. I would think of Jonson as a drunkard perhaps but still a commanding person with inner dignity always working to maintain command of the stage.

The costumes of Rachel Sypniewski helped the overall atmosphere but I would like to have seen a few hats or caps especially on the men.

As they plot the folio project, Dennis and Veach have a lot of dialogue together which felt flat to me. But at some point, I closed my eyes to listen to them and realized that much of the issue came as a result of the awkward staging. It was all too static. They were often sitting bent over some papers at a small table stage left.

Likewise, Yawn as Alice was endlessly stuck behind an atrocious cube that served as the bar within the tavern where the action takes place. She had little stage business to occupy her and her relationship to the men at the table seemed distant.

The set design by Trevor Dotson was a complete miss for me. The bar is the focal point in the middle of the stage and it did nothing to add to the period décor. A piece of wood on two saw horses would have been better instead of what looked like a repurposed airport podium. The matching Formica credenza at the back must have come with it as part of an ensemble and was totally boring and out of place. Even a bit of foliage might have spruced it up. When it came to John and Rebecca’s pivotal bedroom scene it just looked like nobody cared and distracted from the moment.

The lighting of Jackson Mikkelsen could have helped more. I appreciated the few attempts at isolating the action but it needs to be amped up to be much more dramatic, especially in the bedroom scene and the following scene between John and Henry sitting on the floor. In both of these cases the mood would have been greatly enhanced by blacking out most of the set and isolating the duos.

I lay nearly all of my criticism at the foot of director Beth Wolf. Maybe the idea was, “we are not going to lean too heavily into the era.” Combined with everything I’ve said already, it just seemed haphazard. The actors were fine and the script is good. She had the clay but sorry, it just did not come together for me as a polished production.

“Our revels now are ended. These our actors… were all spirits and are melted into air, into thin air.”

I loved the finale and am not unhappy as much as mildly disappointed. I wanted to love this. I did enjoy the story and some of the individual performances so for that reason say this is somewhat recommended.

DETAILS: “The Book of Will” by Promethean Theatre Ensemble is at the Den, 1331 N. Milwaukee, Chicago, IL through October 25, 2025. Running time is 2 hours with one intermission. For tickets and information visit thedentheatre.com or call 773-697-3830.

Reviewer: Reno Lovison

(ED note: Saw the American Players Theatre’s do this in Spring Green, WI a few years ago. The production was magnificent. So don’t write off this play by Lauren Gunderson. Just watch for it. JJ)

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