Theater – Page 4 – Chicago Theater and Arts

Purple is Splendid Color

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

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

Highly Recommended

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

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

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

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

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

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

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

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

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

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

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

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

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

Reviewed by Reno Lovison

For more reviews visit Theatre in Chicago

Absurdist theater and spoken word

Tom & Eliza

Highly Recommended

“Tom & Eliza” is a fairly brilliant example of absurdist theater. Beautifully performed by Clifton Frei as Tom and Seoyoung Park as Eliza, it is written by Celine Song and expertly directed by Aileen Wen McGroddy.

Reminiscent of Ionesco and Albee, “Tom & Eliza” focuses on ideas of existentialism and exploring the psychology of aging, marriage and sexual relationships with an attitude of absurd surrealism.

On the surface, this is the story of two people whose parents made love, they were born, they had three dates, they made love on their third date, they had children, they lived, loved, made choices, grew apart, came back together, they lived separate existences then faded into their own oblivion.

Playwright Song shows us the arbitrary and bizarre trajectory of life and relationships based on spontaneous often impulsive decisions with little understanding of purpose or potential consequences.

The two share certain commonalities but they are also as different as fire and water. Tom is a seeker of knowledge interested in the evolution of civilization on the banks of four great rivers. Eliza is a destroyer of knowledge with a passion for burning books.

I see this as a spoken word performance akin to a musical duet without music. There is a cadence to the words as Tom and Eliza tell their stories via short clipped phrases with a captivating rhythmic quality.

There are a number of repeated phrases that have the effect of a song’s chorus or hook, reminding us of what we have learned while preparing us for where we are going.

Like an epic poem recited alternately by two people, they are mostly each speaking introspectively to the audience and occasionally to each other. It’s clear that real communication between the characters is superficial. They are on parallel paths that are asynchronous, yet the performance is very much in sync.

As performers Frei and Park have clear well-articulated euphonious voices, pleasant to listen to no matter what they are saying. And that’s important because they are speaking basically nonstop for 70 minutes atop two tall stools but never speaking over each other.

The austere set design of Tatiana Kahvegian augmented with lighting by Keith Parham and sound design of Alex Trinh appears deceptively simple but is fraught with considerable challenges that include a number of surprises. The technical elements come together seamlessly through obvious team work.

Tom & Eliza is a challenging and thought-provoking presentation that may not appeal to a wide audience, in fact the theater only seats about 25 people, but this entire production is an example of elegant stage craft achieved through the effort of the entire crew and company that will be appreciated by those willing to take a risk to enjoy something a little out of the ordinary.

Tom & Eliza is at Tuta Theatre, 4670 N. Manor Ave., Chicago, IL (steps from the Francisco CTA Brown Line station) through Aug. 16, 2025. Running time is 70 minutes with no intermission. For tickets and information visit tutatheatre.org

Review by Reno Lovison

For more shows visit Theatre in Chicago

Visit Devon Avenue in Chicago

Anish Jethmalani and Tina Muñoz Pandya in “Dhaba on Devon.” (Photos by Michael Brosilow)

Recommended

Many cultures have opened stores and restaurants over the years on Devon Avenue, a north-side shopping street that ends at Sheridan Road. Mid last-century when my family lived in Chicago’s Rogers Park area and I attended Sullivan High School, Devon was very Jewish and a perfect place to find good clothing stores, jewelry shops and delis.

That changed. And the reason I mention it is because the play, “Dahba on Devon Avenue ” is about how neighborhoods and customer needs change.

After moving to the northern suburbs and returning after college, I would go to Devon Avenue with friends to eat and grocery shop for seasonings and specialty items at ethnic restaurants and stores, often those from India and Pakistan such as the Patel group.

That was years ago. I don’t know what Devon Avenue is like today but I can understand how a longtime owner might fight change when his restaurant fails to attract or keep customers. And why his family tries to get him to adopt to the changing times.

“Dhaba On Devon Avenue” by Madhuri Shekar, a world premiere by Writers Theatre in Glencoe, co-produced by Timeline Theatre, is about that fight. The restaurant, Dhaba Canteen, has been a neighborhood spot for years but now can’t refinance after business has fallen off.

Complicating matters, owner and chef Neeraj, preformed with a fine combination of heart and stubbornness by Anish Jethmalni, has Parkinson’s so can’t taste and smell his food the way he used to. He also won’t admit to that problem or accept help until too late from his friend, Jahan, (Adil Jaisinghani) who has a snack empire of Indian cookies.

Mueen Jahan and Anish Jethmalani

Mueen Jahan (left) and Anish Jethmalani in “Dahba on Devon Avenue ”

Daughter Rita (Tina Munoz Pandya, perfectly interpreted as a willing co-worker at the restaurant) and Sindhu (Arya Daire, sort of an estranged daughter whom Rita has called about their problems) bring the situation to a conclusion.

As a foil to all the kitchen activity and intergenerational drama, is line cook Luz (well depicted by Isa Arciniegas).

And in case you’re thinking the place is a large eatery know that“dhaba” can be translated in Hindi for “hole in the wall” and used here to mean a very small restaurant.

Directed by Chay Yew with set design by Lauren M. Nichols and costumes by Christine Pascual, “Dhaba” and cast were surely moved, dishes, aprons and kitchen, from Devon Avenue into Writers Theatre in Glencoe.

Details: “Dahba on Devon Avenue ” at Writers Theatre with TimeLine theatre, is at 325 Tudor court, Glencoe, now thru July 27, 2025. Running time: 90-95 minutes with no intermission. For tickets and more information visit WritersTheatre or call (847) 242-6000.

Jodie Jacobs

For more reviews visit Theatre in Chicago

Marriott Theatre show offers a second chance

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

Highly Recommended

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

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

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

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

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

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

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

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

Jodie Jacobs

For more reviews visit Theatre In Chicago.

Chicago shines at Tony Awards

The Tony Award (See below)

What Chicagoans have known for years, that Steppenwolf Theatre has great acting and productions, was acknowledged in New York at the Tony Awards, Sunday, when “Purpose” commissioned by and first produced at the Steppenwolf Theatre Company, won the Tony Award for Best Play.

In addition, the production’s Kara Young took home Best Actress in a Featured Role in a Play, her second Tony in two years. Young received the Tony in 2024 for her performance in “Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch.”

“In this world where we are so divided, theater is a sacred space that we have to honor and treasure. It makes us united,” Young said upon receiving the award.

Directed by Phylicia Rashad, playwright Branden Jacobs-Jenkins’ “Purpose,” revolves around discussions at a gathering of a well-known Black family when they are snowed-in.

The play, which had won a Pulitzer Prize and premiered at Steppenwolf Theatre in Spring 2024 received six nominations.

The Tony Awards

If watching the show closely, you may have noticed what the award looked like. Actually called the Antoinette Perry Award for Excellence in Broadway Theatre, the Tony is presented by the American Theatre Wing and The Broadway League annually to performers and creators of live theatre on Broadway. They cover everything from individual performances to writing and set design.

Founded by theatre producer and director Brock Pemberton, they are so named for actress, director and producer Antoinette “Tony” Perry, co-founder and secretary of the American Theatre Wing.

However, what many viewers waited for was a performance by Lin- Manuel Miranda’s original “Hamilton” cast. (It didn’t disappoint) “Hamilton” had won 11 tony awards including Best Musical and received 16 nominations in 2016.

Other 2025 Tony winners

Best Musical: “Maybe Happy Ending”

Best Revival of a Play:” Eureka Day” by Jonathan Spector

Best Revival of a Musical: “Sunset Blvd.”

Best Performance by an Actor in a Leading Role in a Play: Cole Escola,”Oh, Mary!”

Best Performance by an Actress in a Leading Role in a Play: Sarah Snook, “The Picture of Dorian Gray”

Best Performance by an Actor in a Leading Role in a Musical: Darren Criss,”Maybe Happy Ending”

Best Performance by an Actress in a Leading Role in a Musical: Nicole Scherzinger, “Sunset Blvd.”

Best Performance by an Actor in a Featured Role in a Play: Francis Jue, “Yellow Face”

Best Performance by an Actress in a Featured Role in a Play (see above)

Best Performance by an Actor in a Featured Role in a Musical: Jak Malone, “Operation Mincemeat: A New Musical.”

Best Performance by an Actress in a Featured Role in a Musical: Natalie Venetia Belcon, “Buena Vista Social Club.”

Best Direction of a Play: Sam Pinkleton, Oh, Mary!

Best Direction of a Musical: Michael Arden, “Maybe Happy Ending”

Best Book of a Musical: “Maybe Happy Ending,” Music and Lyrics: Will Aronson and Lyrics: Hue Park )

Jodie Jacobs

Curious or suspicious

Recommend

The world premiere of “Neighborhood Watch” written by Rehana Lew Mirza and directed by Kaiser Ahmed at Jackalope Theatre is a humorous look at what can happen when curiosity leads to suspicion.

Self-described ultra-liberal Boomer, Paul (Frank Nall), finds it is much easier to be nonjudgmental in an abstract sense. Things change when brown skinned Pakistani Muslim, Mo Rizvi (Harsh Gagoomal) moves in next door.

Fed by the naturally suspicious nature of his conservative leaning neighbor Shawn (Victor Holstein), the two conspire to learn more about Mo, setting out on an absurd quest worthy of Lucy and Ethel in an “I Love Lucy” episode.

Frank’s Gen-Z daughter, Becca (Jaime Herb), recently graduated from college and not yet gainfully employed, is living at home with her widowed father. When Becca meets Mo the two are immediately smitten and quickly enter into a romantic relationship, which of course, heightens the urgency of Paul and Shawn to learn more.

Things take a twist when Mo’s “cousin” Javed (Omar Bader) appears, deepening the intrigue and complicating the plot.

There is a lot to enjoy in this sitcom style production that relies heavily on broad humor and predictable stereotypes. What it lacks is nuance, subtlety and any semblance of believability. But in a nonthreatening way it does encourage us to consider what can often be rather high and mighty positions on social matters until they affect us personally.

Mirza has a good premise but the resolution is somewhat rushed and unsatisfying. Using stereotypical characters is fine but I am disappointed that there turns out to be some justification for the aspersions cast onto the Muslim characters. Whether the details are warranted or not, this becomes an issue because it is easy for some people to walk away saying, “See I told you so.” In my view, Mirza had two good ideas that deserve attention but maybe not combined into the same play.

The faux grass carpeted set design of Tianxuan Chen screams suburbia while the array of lawn signs and variety of Frank’s political t-shirts assembled by costume designer Delena Bradley informs us of the character’s political and ideological leanings. I appreciate when the non-verbal elements of the production support the storyline and actually help to advance the plot.

Gagoomal as Mo, feels like a friendly laid-back guy you’d be happy to have as a neighbor and Herb’s portrayal of Becca’s relationship with him and also with her father were very natural and sincere.

As the overzealous father, Nall is requisitely dead-pan when he puts the wrong foot forward in an effort to be accommodating. Holstein as sleuthing neighbor Shawn, holds nothing back verging on slapstick. When Bader arrives as Javid he interjects an alternative mysterious vibe that makes his agreeable nature appear suspect.

I must make an unusual mention of the impressive printed program. More than just the quality of the paper stock, the cover design featuring a photo of the actual cast members is incorporated in a montage that mimics a semi-realistic impression of the set design rendered into a stylized graphic evocative of the production. Nicely done. However I could not find a reference to the photographer or the graphic designer.

Details: “Neighborhood Watch” is at Jackalope Theatre in the Broadway Armory Park, 5917 N. Broadway St., Chicago, through June 28, 2025. Running time: 2 hours plus ten-minute intermission. Tickets and information at JackalopeTheatre.org or call/text the box office at (773) 340-2543.

Reviewer: Reno Lovison

Galileo revisited

Recommended

Trap Door Theatre’s presentation of “Galileo” stays close to the heart of Bertolt Brecht’s script but is a challenging and thought-provoking interpretation.

Fragments of the original dialogue featuring a translation by Charles Laughton are there, but the production has been reshaped and reimagined by director Max Truax into a postmodern, avant-garde style.

The storyline is ostensibly about the struggle of the famed 17^th Century mathematician and scientist Galileo Galilei who championed the then controversial notion that the Sun rather than the Earth was the center of our known universe. He employed the new invention of the telescope to prove his hypothesis.

For these heretical observations he was threatened with torture and ultimately sentenced to house arrest and forbidden to continue his research.

In reality, this is a story of unchecked centralized political and religious power repressing new ideas in order to keep the general populace ignorant and under control.

Brecht realized his version of “Galileo” in the midst of WWII which was largely precipitated by a rise in fascism throughout Europe. Echoes of intolerance continued to reverberate during the anti-communist movements of the late 1940s and 50s.

In the United States, the Red Scare and McCarthyism were on the rise making it no accident that Charles Laughton, a champion of modernist cinema and left-leaning causes would be attracted to the message of Brecht’s play. He successfully introduced it to a Los Angeles audience to reflect what was happening in the cultural climate of the day.

Interestingly, this current version of the play is much about the director’s vision. It’s notable that Truax graduated from Oberlin College where he studied visual art, performance art and choreography as this production could be a master’s thesis in the application of these art forms.

David Lovejoy as Galileo is literally the person around whom this entire production revolves. The blocking in this modernist staging has the players often moving in elliptical orbits around each other and most notably around Galileo himself as he is the central force.

Lovejoy is naked on stage at the beginning wearing only a flesh-colored dance belt for modesty. He is bathed in light looking not unlike the Sun itself. It soon becomes evident that, in essence, he as Galileo has exposed himself before the world. Any subsequent use of clothing is in direct relation to the degree of practical concessions he makes to the powers that be.

Joan Nahid is the blindfolded Inquisitor who ironically is the one keeping the most watchful eye on Galileo. Clothed in black and seemingly everywhere, she is “the void,” the chief tattletale and the very essence of ignorance. Andrea played by Shail Modi is Galileo’s young protégé and the foil for presenting his ideas to the audience. He is the future.

Galileo’s daughter Virginia (Genevieve Corkery) is a devoted Catholic. At least she is devoted to early morning visits to church and devoted to maintaining the status quo. Dressed in a floral blue dress and sporting blue eye shadow, she represents the Earth. She has little interest in scientific thought but she, like all of the planets, is caught within her father’s gravitational force and reflects his light.

Virginia’s suitor Ludovico (Caleb Lee Jenkins), is shallow as is she. But like a meteor, he is a potentially destructive force in the lives of father and daughter.

Fulganzio (Amber Washington) is a monk who sees the light and is at least intrigued by the teachings of Galileo.

Likewise, Cardinal Barberini (Gus Thomas) who later became Pope Urban VIII, was also educated in mathematics with a genuine interest in science. But he has to navigate and reconcile his scientific insights with the Church’s position on the new concept of heliocentrism. If the Earth was not the center of the Universe how will this affect the teachings of The Church and where might it lead?

Dan Cobbler has an important role as the Curator and other businessmen. He is a kind of one-man Greek chorus who fills many roles that would have been performed by multiple actors in a more traditional performance.

He is the voice of commerce who see the practical applications of new ideas but who also must avoid harm, being careful not to get too close to the sun. Cobbler’s performance has a comical element that offers some respite from what could become a most oppressive topic.

Largely done in contemporary attire (or lack of) with costumes by Rachel Sypniewski, Truax also uses several black and white vintage television sets that display only static. People with influence carry them about to communicate their thoughts to those in power.

Integration of multi-media is a feature of the modern epic theater movement as is social or political commentary. The same goes for breaking the fourth wall by speaking directly to the audience, done here very effectively.

Alluded to earlier, this production exploits highly choreographed movements. The players are very nearly always in motion, not unlike the motion of the planets. That gives this an almost music-less ballet quality.

Galileo is often stationary at which times he might strike a quite stylized pose, notably a time where Lovejoy in his nakedness is bent at a ninety-degree angle looking quite like Atlas carrying the weight of the world (or a Rodin sculpture).

The backdrop for this performance designed by Merje Veski is a multitude of sheets of black paper filled with notations, no doubt representing the many thoughts of the scientific master. Likewise, there is mathematical and scientific graffiti on the floor eliciting the effect of being surrounded, indeed engulfed within the mind of this genius.

DETAILS: “Galileo” is presented by Trap Door Theatre, 1655 W. Cortland, Chicago, through June 14, 2025. Running time is 90 minutes with no intermission. Tickets and information can be had at trapdoortheatre.com or call (773) 384-0494.

Reviewer Reno Lovison reports that he appeared in a production of this play, traditionally staged, at the Goodman School of Drama, many years ago and was pleased to see this adaptation.

For more reviews visit https://www.theatreinchicago.com/reviewlistings.php

A picture of friendship

Chad Bay and Justin Albinder. (Photo by Nomee Photography.)

Highly Recommended

Long term friendships can be complicated and messy. Honesty can be dangerous and revealing. Are you willing to take a chance? What are your motivations? Can your friendship survive?

A fourteen-year friendship between three friends explodes over the purchase of an expensive, modernist painting in ART, presented by Remy Bumppo at Theater Wit in Chicago.

This smart and very funny piece of theater by Yasmina Reza, expertly translated by Christopher Hampton, is directed by Marti Lyons.

Originally written in French, it retains certain European overtones, not simply in the character names and the fact that the painting in question was purchased for 200,000 francs but also in the intellectualism of the writing.

That is to say that Europeans have a way of broadcasting their intellectual thoughts and ideas openly. They seem to revel in philosophical debate. Whereas I believe Americans generally see intellectual expression as over -complicated and ostentatious.

Therein lies the essence of the conflict. Reza through these characters is poking fun at the very ostentatiousness that is so prevalent and alive in European discourse> However, Hampton has translated this into a very real Americanized version.

My impression is that this seemed like an extended “Seinfeld” episode, artfully combining the esoteric and mundane and featuring a fair amount of absurdity.

Serge (Chad Bay) an apparently successful dermatologist, excitedly reveals his purchase of a large, monochromatic painting to his longtime friend, Marc (Justin Albinder), who is unable to hide his negative reaction by laughingly calls the painting “shit” and criticizes Serge for buying it.

Offended, Serge defends himself by saying that Marc simply does not have the depth of understanding and knowledge needed to fully comprehend the significance of the artist’s work.

Marc insists that Serge is simply buying into a sort of bourgeoise display of affluence and furthermore has lost his perspective and the sense of humor he once had which would have allowed him to see how outrageously absurd this is.

Seeking an ally, Marc visits their mutual friend, Yvan (Eduardo Curley) who is about to be married, to tell him of Serge’s new acquisition and lost sense of humor.

Yvan visits Serge and instead of siding with Marc, tells him that he appreciates the artist’s attempt and sees why the painting appeals to him.

Later when the three unite, Marc is horrified that Yvan has seemingly sided with Serge. But Yvan admits that he doesn’t really like the painting, he was just trying to avoid conflict and keep peace between the friends.

His attempt to play both sides backfires as Marc and Serge join forces accusing him of being an indecisive, untrustworthy friend.

What begins as a disagreement over art quickly escalates into a heated exchange about values, perception and loyalty, ultimately threatening to unravel their long-standing friendship.

The tension between Serge, Marc, and Yvan is a reflection of how personal taste, societal pressures, and human insecurities intertwine. The painting itself is a catalyst for deeper resentment and philosophical disagreements about identity and relationships.

Marc seems to see the painting as a symbol of Serge’s pretentiousness, while Serge views Marc’s reaction as a lack of intellectual depth. Yvan—caught between them— is just trying to smooth things over but ends up being criticized for his neutrality.

There is a hysterical, roughly three-minute monologue by Yvan that is a diatribe. It revolves around his fiancé’s step-mother and his step-mother and who is on the wedding invitation.

It results in his birth mother declaring she will not have her name on the invitation if the step-mother’s name is there. This rant gives us insight into Yvan’s inner struggles and frustrations.

A fast-paced, hilarious conversational farce, the action takes place on a one room monochromatic set by Lauren M. Nichols with cream-colored walls and sofa.

In the center, is a single panel that changes to display another piece of artwork that indicates whose apartment we are in. Serge’s apartment is blank and neutral. Marc’s place features a realist scene of a medieval castle in the country. Yvan’s wall displays a vase full of colorful flowers.

If you’re lucky enough to have one or more long friendships you will no doubt recognize the frustration of having to navigate what you love about a person combined with the small irritations that can drive you crazy at times. Also, that the freedom to speak openly based on years of trust can be a minefield.

Finally, there is coming to terms with occasions when you may not be sure if the investment in time justifies preserving a relationship that may simply have changed too much and is not what it once was.

DETAILS: Art, presented by Remy Bumppo Theatre Company is at the Wit Theater, 1229 W. Belmont, Chicago through June 1, 2025. Running time is about 80 minutes with no intermission. For information go to RemyBumppo.org or visit the theater box office.

Reno Lovison

Visit Theatre in Chicago for more reviews

Sex and drugs and rocking chairs

L to R Bob Sanders, Ellen Phelps, Kenneth Johnson and Elizabeth Rule. Photo by North Shore Camera Club.

HighlyRrecommended

In case you think that “A Jukebox for the Algonquin” is merely about an old people’s care center, the phrase listed under the title is a hint to what the show at Citadel Theatre in Lake Forest is really about.

Well directed by Scott Westerman it takes place in upstate New York’s Placid Pines Senior Care Center where a recreation room is dominated by a fish tank that you don’t see but can imagine as a handful of residents feed the fish or refer to it.

They decide a much better use of the space would be a jukebox they could use to play tunes and dance to. They hear of a second-hand Wurlitzer but how would they pay for it? You get the how idea at the end of Act I as they learn what is among the stuff being cleaned out of a room there just vacated.

They are residents Johnny ( Kenneth Johnson) somewhat of a leader of the group, his good friend Dennis (Bob Sanders), Annie (Ellen Phelps) who has an over-the top personality and BTW is Citadel’s co-producer, and Peg who bakes cookies (Elizabeth Rude who also plays Mrs. McDarren, a visitor who is checking out the facility).

Also on the set are Chuck, a knowledgeable and funny janitor (Patrick Thornton), and the facility’s staff members, Josefina who often pops in (Karla Corona) and Tyler (Joshua Thomas).

Written by Paul Stroili, the plot reminds us there is more to senior citizens and growing old than gazing at the TV or a large fish tank.

I like that scenic designer Catalina Nino kept the setting simple and that costume Danielle Reinhardt stayed with normal, wearable clothes so that the audience could focus on the words and actions.

DETAILS: “A Jukebox for the Algonquin” is at Citadel Theatre, 300 S. Waukegan Rd., Lake Forest, IL. now through May 25, 2025. Running time: 2 hours with one intermission. For tickets and other information call 847-735-8554, x1, or visit www.citadeltheatre.org.

Jodie Jacobs

For more shows visit Theatre in Chicago

A political horror story

Highly recommended

Charles Dickens’ expose of the French Revolution produced by the Shattered Globe Theatre at the Wit is cleverly performed by a cast of eight and seems a little too close to home in today’s political climate.

This story of love, politics, mob action and self-sacrifice demonstrates how collective passion for social change can ensnare even the innocent in a net of violence that is intended to punish those guilty of creating financial crises, promoting social inequality and suppressing the ideals of enlightened thinking.

A well-conceived adaptation of “A Tale of Two Cities” adapted by Brendan Pelsue and directed by Mikael Burke, tells a big story on a small stage with a minimal cast that encourages the audience to express their emotions as various incidents occur.

This vocalization from “the mob” adds energy to the production providing a visceral feeling of being part of the events and perhaps even some responsibility for decisions that are made and actions that take place.

A cautionary tale that depicts injustice masquerading as justice, this shows how those in power can manipulate the system to exact revenge and to accomplish their political objectives, illustrating how the manipulated emotions of the mob can incite violence and add credibility to the injustices being perpetrated.

Dickens weaves a fictional chronical that begins with a love triangle involving Lucie Minnet and two men who bear an uncanny resemblance to one another, Charles Darnay and Sydney Carton.

Ultimately the three are engulfed in “the terror” that results in guillotine executions of thousands of aristocrats and their perceived associates and sympathizers including the king and queen.

Lucie’s father, Dr. Minnet, has been falsely imprisoned in the notorious Bastille because he was witness to a horrible crime involving two aristocrats who used their power to silence him.

Dr. Minnet becomes a hero of the “Storming of the Bastille,” an event that sparked the beginning of the French Revolution.

Darnay, a member of the French aristocracy, has denounced his favored position as a Marquis in sympathy with the revolutionaries who seeks to put more power into the hands of “the people.”

The status of Dr. Minnet as a revolutionary hero and Darnay’s sympathetic stance cannot totally insulate them and their family from the madness of the mob personified by the character of Madame Defarge. As an overzealous and vengeful revolutionary, she even manages to whip this rather passive audience at The Wit into a frenzy.

The talented ensemble moves seamlessly from role to role as each of the actors portray multiple characters. The cast is comprised of Daria Harper (Actor 1), Diego Vazquez Gomez (Actor 2), Demetra Dee (Actor 3), Glenn Obrero (Actor 4), Penelope Walker (Actor 5), Jazzma Pryor (Actor 6), Jeff Rodriguez (Actor 7), and William A. S. Rose II (Actor 8).

This is a story of a reality that seems impossible. The set design by Eleanor Kahn & Milo Bue features an array of smoky semi-gilded mirrors that dominates the backdrop from floor to ceiling. It provides an otherworldly distorted reflection of the action as well as an eerily distorted view of the audience who are part of the ensemble.

The lighting by Eric Watkins is subdued augmented by clusters of candles around the perimeter of the stage that contribute to the indistinct and unsettling nature of events taking place.

The candlelight along with the costumes by Kotryna Hilko indicate that this is a period piece that historically represents an actual place in time.

The overall cadence of the dialogue has a contemporary vibe with moments of humor and levity that lighten the atmosphere a bit. Its gallows humor reminds us of just how absurd things can get when they have gotten completely out of control.

The actors make no attempt to affect either a British or French accent which would only unduly complicate the message.

This modern approach no doubt makes the production more accessible to younger audience members who may find a more traditional telling of the story somewhat oppressive and remote.

My first impression was that Pelsue’s approach harks back to what we might have called a “Cliff’s Notes” version of Dickens’ original story. That is to say, an abbreviated retelling designed primarily to touch on the main themes in order to pass a literature test.

But thinking back to the 1958 film, it took about the same amount of time to tell as this version. The advantage of a movie is you can get more information in the time provided because you can tell with moving images details that you cannot include on stage.

Dickens’ writing traditionally is fraught with minute details that draw you into the time and place. In a book, he can take as much time as he wants to set the scene and explain the backstory. I would compare this version to that of an operatic libretto. The story is complete but stripped to the essentials. In this case a narrator or one of the characters often fills in some of the details in order to keep the plot line moving.

The overall effect of this version of a “Tale of Two Cities” was quite satisfying and thought provoking. I would highly recommend this to Dickens fans; anyone unfamiliar with the story; anyone unfamiliar with the history of the French Revolution and anyone interested in how a political movement run amok can affect the lives of every person involved resulting in unfathomable horrors perpetrated in the name of justice.

Details: “A Tale of Two Cities” by Shattered Glode Theatre is at Theater Wit, 1229 W. Belmont, Chicago, IL through May 31, 2025. Running time: About 2 hours plus a 15-minute intermission. For tickets and information visit sgtheatre.org, call the Theater Wit box office, (773) 975-8150, or purchase in person at Theater Wit.

Reno Lovison

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