Theater – Page 6 – Chicago Theater and Arts

A ‘Hart’ felt story of hidden love

From L: Sean M. G. Caron, Mandi Corrao, and Sean Michael Barrett (Photo MadKap Productions)

Recommended

The duo of Richard Rodgers and Lorenz Hart were the genius songwriters behind several hit Broadway musicals with many of their numbers going on to become standards in the Great American Songbook.

This Madkap Production of “Falling for Make Believe” at the Skokie Theatre purports to be “The Real Story Behind the Music of Rodgers and Hart,” but might more accurately be called the real story behind the suffering of Lorenz Hart.

In recent years Hart has been widely known to be an alcoholic though this reality was skillfully avoided during his lifetime and at the time of his death, as alluded to in this version of events. His homosexuality was also a tabu topic in the mid-century “don’t ask don’t tell” era, but is front and center in this updated retelling of his life by Mark Saltzman.

It is notable to mention that Saltzman began his career writing for Muppets creator Jim Henson and in an interview caused a stir when he suggested that he had created the popular characters of Bert and Ernie as a gay couple. He has also written a number of successful movies, and he demonstrates in this well written production that he knows how to tell a story and handle dialog.

The story pivots around the character of a gay farm boy from Pennsylvania, Fletcher Mecklen (Nate Hall) and his on-again-off-again relationship with Lorenz Hart (Sean Michael Barrett), known as Larry to his friends.

: Sean Michael Barrett, Nate Hall, Mandi Corrao, and Donaldson Cardenas (Photo MadKap Productions)

I could not find any reference online to an actual Fletcher Mecklen and therefore assume he is a vehicle for representing the more private, and indeed, hidden side of Hart’s life.

The story suggests that this secret pressure and his inability to openly receive love is perhaps the seminal reason behind Hart’s psychological turmoil.

It is likely a potential factor in his alcoholism, as well as possible drug addiction which is suggested here through the character of Doc Bender (Donaldson Cardenas), a sometimes talent agent and former dentist who tells us that he keeps his license up to date in order to keep his prescription pad valid.

Sean Caron portrays the long-suffering business partner Richard Rodgers who works tirelessly to keep Larry on the straight and narrow in order to keep him working but also to protect his reputation and later his legacy.

Mandi Corrao as Vivienne Segal is basically their on-call chanteuse. Cheryl Szucsits rounds out the cast playing three minor roles but is given the honor of singing “Falling in Love with Love” which features the title lyric “Falling for make believe.”

The production features a number of notable Rodgers and Hart tunes such as” Bewitched” (a/k/a Bewitched, Bothered and Bewildered), “The Lady is a Tramp, ” “I Could Write a Book” and “Where or When.”

DETAILS: “Falling for Make Believe” is at the Skokie Theatre, 7924 Lincoln Ave in Downtown Skokie through Oct 16, 2022. Running time is about 90 minutes including a short intermission. Tickets can be purchased online at SkokieTheatre.org or by calling (847) 677-7761.

Reno Lovison

For more shows visit Theatre in Chicago

Around Town early to mid-October

t is easy to miss events when September ends on a Friday and October starts on a weekend. Plus, a COVID break of events for two years changed when some events are re-appearing.

American Craft Expo

Sept. 30 through Oct. 2

Usually held earlier in the year, ACE, as the art exposition is known, will be at the Chicago Botanic Garden again but runs this weekend on the cusp of September/October. A top-notch show of works from100 juried-in artisans, ACE is sponsored by the Auxiliary of NorthShore University HealthSystem and is a fundraiser for NorthShore research and care.

Hours: Friday and Saturday 10 a.m.-6 p.m. and Sunday 10 a.m. to 5 p.m. The Chicago Botanic Garden is at 1000 Lake Cook Rd., Glencoe. For more information visit Chicago Botanic Garden and American Craft Expo. Chicago Botanic Garden, CBG/ACE and American Craft Expo.

World Music Festival Chicago

Sept 30 through Oct. 9

The festival has free band concerts at the Chicago Cultural Center and locations across the city from restaurants and bars to the University of Chicago. Its artists and ensembles represent 22 countries and areas. A special feature is Ragamala, the largest all-night long presentation of live Indian classical music in the United States. For more information visit World Music Festival Chicago. For the bands and locations visit Schedule.

Lyric curtain before lecture on Fiddler. (J Jacobs photo)

Fiddler on the Roof

Oct. 2 through Oct. 7

Opera director Berrie Kosky premiered his “Fiddler on the Roof” at Komische Oper Berlin in 2017. Now it has been adapted by the Lyric Opera of Chicago for its US premiere, but it leaves soon.

Both Grand, with the Lyric Opera Orchestra and Chorus and powerful with fine acting and exceptional dances, “Fiddler” visits the village of Anatevka in 1905 in what became Ukraine (and in 2022 is a war zone.) Lectures on operas and shows are one hour before curtain time.

The Lyric Opera of Chicago is at 20 N. Wacker Dr. For tickets and more information visi. Lyric Opera and call (312) 332-2244.

‘Fiddler’ goes grand at the Lyric Opera House

L Tevye (Steven Skybell,and young violinist (Drake Wunderlich) in “Fiddler on the Roof.” 9 Photo by Todd Rosenberg Photography) — L Tevye (Steven Skybell and young violinist (Drake Wunderlich) in “Fiddler on the Roof.” (Photo by Todd Rosenberg Photography)

3 stars (Recommended)

That the US premiere of Komische Oper Berlin’s “Fiddler on the Roof” that opened in 2017, is on stage at Lyric Opera of Chicago now through early October.

It does more than merely fit this productions’ large-scale scenery and cast. Judging by comments heard during intermission, audience members who had not attended an opera here were dazzled by the size and make-up of the hall and building. Maybe, they will return for an opera.

Lyric’s production, directed by Barrie Kosky, definitely takes advantage of an operatic stage with its large chorus of villagers, remarkable dancers, its many main cast members and enough other actors to fill the shtetl of Anatevka in the Pale of Settlement in Imperial Russia.

Of course, when talking as writer Sholem Aleichem (the pen name of Solomon Naumovich Rabinovich) did in stories about the challenges dairyman Tevye had with his many daughters and life in a Russian village (Tevye and his Daughters) what became ‘Fiddler on the Roof” could seem operatic in nature.

The voices of the main characters and chorus and the dances choreographed by Silvarno Marraffa, particularly the spectacular “Bottle Dance,” are worth the visit to the Lyric for the show.

“Fiddler on the Roof” at the Lyric Opera House. (Photo by Todd Rosenberg)

What bothered me was that by going grand, the production, at least for me, lost the small-scale, intimate, Dickens-like peeking in the window that gave “Fiddler” the folk-tale, dream sense Jewish Russian artist Marc Chagall pictured in his works about Jewish life and his painting of the “Green Violinist” used on the program’s cover.

But what brings “Fiddler” to life now is how it ends with the Jewish villagers forced to leave back in 1905. Consider how many of the residents of the region which later became part of Ukraine, are sadly part of a war-driven exodus in 2022.

What was meaningful to me and beautifully brought out in the musical’s book by Joseph Stein, music by Jetty Bock and lyrics by Sheldon Harnick was the underlying theme of tradition vs change. You hear it and think about it the song “Tradition” and “Sunrise Sunset” and in Tevye’s musings with G…d.

Note: I should explain that “Fiddler” is personal. My father’s family of several sons and daughters left that region for the United States. His father whom we called Zaidi, was a tailor and they were Orthodox Jews. My father talked about how horrible the Russian Cossacks were to the villagers.

Adam Kaplan and Austen Bohmer. (Photo by Todd Rosenberg.)

The “Fiddler” family in the Lyric production are Steven Skybell who is a perfect Tevye, Debbie Gravitte who is excellent as his wife, Golde, and oldest daughters Maya Jacobson as Chava, Lauren Marcus as Tzeitel, Austen Bohmer as Hodel and younger daughters, Omi Lichtenstein as Bielke and Liliana Renteria as Shprintzel. It’s the older daughters who are changing the family’s traditions.

As to their chosen mates which definitely went against tradtion, they are Drew Redington as Mote), Adam Kaplan as Perchik and Michael Nigro as Fyedka.

Mention should also be made of Yente, the Matchmaker, nicely portrayed by Joy Hermalyn and the Fiddler, Drake Wunderflich, a fifth-grader who is a member of the Chicago Youth Symphony Orchestra. He starts out with a scooter he trades in the opening scene for a fiddle and is on the roof in most scenes, then appears again at the end.

“Fiddler on the Roof” is at the Lyric Opera House, 20 N. Wacker, now through Oct. 7, 2022. Running time: 3 hours, 15 min. with one intermission. For tickets and more information visit lyricopera.org or call (312) 827-5600.

Jodie Jacobs

For more shows visit Theatre in Chicago

Horror musical about greed and power

Trio of Skid Row girls above watch the action with Little Shop of Horrors ledes (Photo courtesy Citadel Theatre and North Shore Camera Club)

Recommended

October, when you are asked to believe in the supernatural, is the perfect month to see Little Shop of Horrors at Citadel Theatre.

Director Matthew Silar, production manager Ellen Phelps and scenic designer Eric Luchen have magically figured out how to innovatively cram scenery that includes a skid row tenement stairway, a flower shop, dentist’s office and a growing-by-the-minute voracious plant with evil intentions into Citadel’s miniscule space.

Balancing the evil of the plant are the fun combo of rock and roll /doo-wop dances and songs by a trio of young skid row residents: Chiffon (Ania Martin) Crystal (Isis Elizabeth) and Ronnette (Sabrina Edwards).

The trio also move the scenery, changing an outside wall into the shop and other places as needed.

Ledes are Sam Shankman who wears well the persona of the nebbish shop employee/plant cultivator Seymour and his love interest, fellow shop employee Audrey, nicely portrayed by Dani Pike.

Unseen stars are puppet designer Matt McGee, puppeteer of the plant, Michael Dias, and Audrey II’s voice, Aaron Reese Boseman. Seymour named his plant Audrey II in honor of the girl he works with and really likes.

Secondary characters and the people the audience figure out early on will become Audrey II’s plant food, are shop owner Mr. Mushnik (Alan Ball) and Orin Serivello, D.D.C (Philip C. Matthews).

A horror musical-comedy with music by Alan Menken and lyrics and book by Howard Ashman, the story is based originally on a 1960 film noir titled “The Little Shop of Horrors.” It was later remade into a 1986 film directed by Frank Oz.

I did see a young child in the audience but wouldn’t suggest the show for children below preteens or maybe middle schoolers who really like haunted houses.

Since nothing tried seemed to destroy Audrey II, the show is less allegorical than a statement or warning about greed and power. The characters who are originally OK with the plant’s choices in Act I have second thoughts about the plant in Act II.

DETAILS: “The Little Shop of Horrors” is at Citadel Theatre, 300 Waukegan Rd, Lake Forest, IL. now through Oct. 16, 2022. Running time: 2 hours with one intermission. For tickets and more information visit Citadel Theatre or call (847) 735-8554.

Jodie Jacobs

For more shows visit Theatre in Chicago

‘Hello Dolly’ still very funny and heartfelt

Heidi Kettenring as Dolly at Marriott Theatre. Photos courtesy of Liz Loren) — Heidi Kettenring as Dolly at Marriott Theatre. (Photos courtesy of Liz Loren)

4 Stars

Of course, you will be leaving the Marriott Theatre production of Hello Dolly singing its famed theme song but what you are likely to be talking about is the shows fabulous choreography and fine acting.

What audience members who already had tickets for Sept. 15 might not know is that after previews, that date was the show’s new opening night. It came two weeks after the original opening Aug. 31 was canceled due to Covid among some cast members.

Possibly they might have noticed that the production didn’t include a staircase that Dolly Levi typically comes down for a grand entrance into her favorite café, Harmonia Gardens. A note with the program said there was a hydraulic problem.

The delay and staircase absence just didn’t matter. The production and performances received a well-deserved standing ovation.

Superbly directed and choreographed by Denis Jones, this old crowd-pleaser, a musical based on Thornton Wilder’s The Matchmaker. is filled with wonderfully comic and heartfelt moments.

Left Alex Goodrich as Cornelius Hackl and right Spencer Davis Milford as Barnaby Tucker. in Hello Dolly at Marriott Theatre

There is the delightful Act One scene in widow Irene Molloy’s (Rebecca Hurd) hat shop where Cornelius Hackl (Alex Goodrich) and Barnaby Tucker (Spencer Davis Milford), two young Yonkers lads in New York for a night on the town, try to hide from their employer, widower Horace Vandergelder (David C. Girolmo). He left Yonkers to meet a prospective wife with help from matchmaker Dolly Levi (Heidi Kettenring).

And, there is the hysterical moment played to the hilt by Kettenring near the end of Act II when she prolongs a hearing of before a judge that involves the show’s main characters. As everyone waits and waits, Dolly thoroughly enjoys a dinner she had started back at Harmonia Gardens and brought to the courtroom.

As to heartfelt, there is Hurd beautifully singing “Ribbons Down My Back” as she puts on one of her hat creations for her sudden date with Hackl.

There is also Kettenring bringing audience members close to tears with her rendition of “Before the Parade Passes By.”

And speaking of parades, there is a wonderful scene of New York’s 14th Street Association Parade that includes people marching with placards and banners for women’s rights. Although set in the late 1800s, the show proves it is still relevant.

Originally directed and choreographed by Gower Champion you can expect several strong dance scenes. Marriott’s Hello Dolly delivers with Jones’ brilliant interpretations of the sentiments expressed in this Tony Award-Winning Musical with its book by Michael Stewart and music by Jerry Herman.

Shoutouts also have to go to the Marriott Orchestra conducted by Brad Haak, to Music Director Ryan Nelson, Costume Designer Theresa Ham and to Co-Scenic Designers Jeffrey D. Kmiec and Milo Bue. They nailed the musical’s rhythms and time period.

Even though Hello Dolly opened on Broadway in 1964, matchmaking hopes are still alive today with online dating and the desire to participate in life “before the parade passes by,” is still a strong motivator.

DETAILS: Hello Dolly is at Marriott Theatre, 10 Marriott Dr., Lincolnshire, now through Oct. 16, 2022. Running time: about 2 ½ hours with one intermission. For tickets and more information visit Marriott Theatre.

Jodie Jacobs

For more shows visit Theatre in Chicago

Dracula

4 Stars

If your idea of summer fun included telling spooky tales around the campfire or listening to audiobooks during your cross-country road trip you might enjoy beginning the fall theater season with Brian McKnight’s “Dracula,” a Glass Apple Theatre production at the Raven.

Based on Bram Stoker’s 1897 novel Dracula, the production is an exciting world premiere stage adaptation of Orson Welles’ 1938 radio drama “Dracula.” And it is just in time to prepare your mind for Halloween.

Adapted and directed by McKnight, the show weaves an ominous adventure of suspense centered around the identity and mysterious intentions of the pale skinned Transylvanian Count Dracula portrayed by Andrew Bosworth.

The mystery drives Johnathan Harker played by Chris Jensen, nearly insane and sends his wife, Mina (Madeline Logan), to the edge of her grave.

Meanwhile, Dr. Seward (Connor Brennan) reaches out to the more experienced Dr. Van Helsing (Howard Raik) in a desperate attempt to understand what malady affects the fragile Lucy Westenra (Katie O’Neill), who was Mina’s best friend and in the original story probably was the Count’s first victim.

There’s an eerie old castle, a graveyard, an endangered ship at sea and a number of strange boxes with their curious contents that all have to be puzzled out to save the country from the bloody curse of the undead.

This World Premiere hybrid radio-drama is performed in evocative 19th century period costumes by designer Tina Haglund Spitza (with assistance of Cheryl Snodgrass).

To add dimension to this narrated drama, it is performed in front of projected back wall imagery by scenic designer Lauren Nichols (with Alyssa Mohn).

DETAILS: Orson Welles’ Dracula is onstage at the Raven Theatre, 6157 N. Clark St., Chicago, IL through September 25, 2022. Running time: 80 minutes with no intermission. Ticket information is available at glassappletheatre.

Reno Lovison

For more shows visit Theatre in Chicago

‘Hello Dolly’ still a favorite

Director/Choreographer Denis Jones (Photo courtesy of Denis Jones)

The book by Michael Stewart and the lyrics and music by Jerry Herman will still enchant audiences when the regular (post previews) run of “Hello Dolly” opens Aug. 31, 2022 at Marriott Theatre Lincolnshire, according to Director/Choreographer Denis Jones.

Based On playwright Thornton Wilder’s “The Matchmaker,” the musical won Tonys for Best Book of a Musical, Best Original Score and Best Musical when it opened on Broadway back in 1964.

But Jones who has worked productions from the NY City Center and Kennedy Center to Goodman Theatre and the Lyric Opera, isn’t worried that the show, set in the late 1800’s, will be considered too dated by Marriott’s sophisticated suburban audience.

“Its appeal is enduring,” said Jones during a recent phone interview.

“It explores the human experience. It continues to be relevant,” he said.

“It’s about grief and there is the deep humanity of Dolly Gallagher Levi,” said Jones. “Dolly brings people together.”

He also liked that Wilder’s characters took “bold” steps that defied society in the late 1800s.

Originally a farce written in 1938 as the “Merchant of Yonkers,” Wilder revised the play at the urging of Shakespeare and theater authority Tyrone Guthrie. Renamed “The Matchmaker,” It opened in 1955 and won a Tony under Guthrie’s direction.

What might audiences expect under Jones’ direction?

“I’m honoring the Thornton Wilder experience of actors speaking to the audience,” said Jones who wanted to take advantage of Marriott’s “Theater in the Round” configuration and that shows there can use the aisles in their productions.

“I’m already seeing that working in the previews (started Aug. 24). I was delighted.” He added, “The characters commune with the audience. It feels intimate.”

In a spacer like the Marriott, I feel the audience is very much a part of the show – the audience is included.”

Jones also praised the Marriott cast and lead of Heidi Kettenring. “I have a Dolly who will knock your socks off.”

Noting the musical’s iconic songs, he repeats the show’s enduring qualities and adds with an exclamation mark, “There’s the score!”

For more information visit Hello Dolly at Marriott Theatre Lincolnshire.

Jodie Jacobs

Jeff equity nominations announced

Goodman Theatre, downtown Chicago. (Photo courtesy of Goodman Theatre)

Nominees for the Equity Jeff Awards ceremony, an annual recognition of the best Chicago area Equity productions, have been announced this week. The awards ceremony will be Oct. 17, 2022 at Drury Lane in Oakbrook, IL It will be directed by Jim Corti and hosted by E. Faye Butler, with musical direction by David Fiorello.

Started in 1968 to recognize quality Equity (union) productions, the Jeff Awards added recognition of non-equity productions deserving awards in 1973.

Awards are given for all production aspects from individual actors to ensembles and from lighting and sound to costuming and scenery design. They are also categorized by size from large and mid-sized to small companies.

According to a statement from the Jeff Awards committee, the nominees were chosen from shows that ran from July 1, 2021 to June 30, 2022. They came from 38 categories, 43 companies.

Not all equity shows produced during that period fit Jeff criteria. Of the 94 productions attended, 76 were “Jeff Recommended.”

Some years a few productions take several nominations plus not all theaters are in Chicago’s city limits.

This year, Drury Lane Productions in Oak Brook received 21 nominations from five of its shows and Goodman Theatre in Chicago’s downtown amassed 20 nominations that included four shows co-produced with other companies.

Marriott Theatre in Lincolnshire received 16 nominations and Paramount Theater in Aurora picked up 13 nominations of which eight were from a single production, “Kinky Boots.”

Shakespeare Theatre and TimeLine Theatre Company rounded out the top nominations with 10 each.

Due to the Pandemic and the changing theater scene, the Jeff awards added the new classification of “Short Run Productions.”

To see all the nominations and categories visit Jeff Awards.

Jodie Jacobs

Susan Booth to helm Goodman Theatre

Susan V. Booth named Goodman Artistic Director (Photo courtesy of Goodman Theatre and Susan Booth)

Susan V. Booth, Artistic Director of Atlanta’s Tony-Award winning Alliance Theatre, will be leading another Tony-Award winning institution, Chicago’s famed Goodman Theatre when Artistic Director Robert Falls turns over the helm this summer. Falls has led Goodman for 35 years.

Booth’s 21 year tenure at Alliance Theatre’s helm brought the Atlanta institution national recognition for artistic excellence, regional awards, world premiere musicals, a new theater plus rehearsal studios. Alliance was also recognized as a leader in literacy development for education programming by the US Dept. of Education.

“On behalf of the Board of Trustees, we are thrilled to welcome Susan Booth, an incredible artist and civic leader of national repute, as Goodman Theatre Artistic Director following her long tenure at Atlanta’s most important theater company,” said Goodman Chairman Jeff Hesse and Board President Maria Wynne, in a joint statement.

Their statement continued saying, “Her breadth of innovative leadership experience, artistic triumphs, depth of creative connections, and the unparalleled care and commitment she’s demonstrated to the creative community makes Susan a great fit for the Goodman. She will be a dynamic force to lead us towards our Centennial Anniversary in 2025, and beyond.”

Falls said, “I couldn’t be more thrilled to pass the ‘Artistic Director baton’ to Susan Booth. She’s an inspired choice with outstanding qualifications, a keen aesthetic eye and long-standing ties to Chicago. I know she’ll bring inspired leadership, energy, and fresh ideas to an exciting new chapter for the theater.”

Booth is no stranger to the Chicago theater community. She taught at Northwestern and DePaul Universities and was Goodman’s Director of New Play Development from 1993 to 2001 when she shepherded new works from such writers as Luis Alfaro, Rebecca Gilman, José Rivera and Regina Taylor.

“The Goodman has long played a foundational role in my work as an artist and as an artistic leader. To have come up in a theater so deeply committed to bravery, authenticity and muscular aesthetics was a gift—a gift I’ve been able to take with me and build upon over the last twenty years in Atlanta,” said Booth.

Other Chicago theater experiences include a Theatre on the Lake co-artistic directorship and artistic and outreach roles at Northlight and Wisdom Bridge Theatres.

“Now, to come home to this place as its next artistic leader—particularly at this moment of seismic and invigorating change in our field—is profoundly moving and humbling. I’m beyond grateful to the Board, the staff, the artists and the leadership of the Goodman for this extraordinary opportunity,” Booth said.

Einstein and Picasso view the world at Citadel Theatre

Acsione (Picasso), Dan Deuel (Gaston) in Picasso at the Lapin Agile at Citadel theatre (Photo courtesy of CitadeNorth Shore Camera Club l Theatre. — Philip C. Matthews (Freddy), Travis Acsione (Picasso), Dan Deuel (Gaston) in Picasso at the Lapin Agile at Citadel theatre (Photo courtesy of North Shore Camera Club and Citadel Theatre.

3 Stars

It may be hard to imagine what a conversation would be like between Albert Einstein and Pablo Picasso if the two 20^th century geniuses met in a Parisian bar before they achieved international fame.

Comedic actor/screenwriter Steve Martin conceived just such a scenario taking place in 1904 in “Picasso at the Lapin Agile.” Premiered at Steppenwolf in 1993, the play is once again delighting Chicago area audiences with witty dialogue at Citadel Theatre in Lake Forest.

Reprised 20 years after Citadel co-owner and director Scott Phelps first mounted the show, the dialogue is still meaningful, intellectual, insightful, philosophical and funny.

Mark Yacullo (Einstein) and Juliana Liscio (Einstein's friend, the Countess) Photo courtesy of North Shore Camera Club and Citadel theatre. — Mark Yacullo (Einstein) and Juliana Liscio (Einstein’s friend, The Countess) Photo courtesy of North Shore Camera
Club and Citadel Theatre).

First to set the scene at the Lapin Agile, a real cabaret frequented by artists in the Montmartre district (18th arrondissement) of Paris, are bartender Freddy (Philip C. Matthews), barfly Gaston (Dan Deuel), waitress and Freddy’s lover, Germaine (Amy Stricker), and a young, yet to be discovered, Einstein.

He is waiting there for a female friend he told to meet him at a different bar but who knows him well enough to show up at the right location later in the play.

Einstein demonstrates his mathematical mind by answering Freddy’s out-loud musings about some supply costs. Meanwhile, Gaston admires a pastoral painting of sheep behind the bar but a small work by Matisse that was just brought in changes the discussion on what constitutes art.

Travis Ascione (Picasso) and Juliana Liscio (Suzanne) in Picasso at the Lapin Agile) at Citadel Theatre (Photo courtesy of North Shore Camera Club andCitadel Theatre) — Travis Ascione (Picasso) and Juliana Liscio (Suzanne) in Picasso at the Lapin Agile) at Citadel Theatre (Photo courtesy of North Shore Camera Club and Citadel Theatre)

Next on the scene is Suzanne (Juliana Liscio) who has a sketch Picasso gave her during one of their trysts and who wants to see him again. Also entering the bar is Sagot, (Tim Walsh), an art dealer who has already recognized that works by Picasso will eventually be worth many francs.

Eventually, Picasso (Travis Ascione) whom the theater audience seems to have been waiting for, saunters in. Full of himself, he stops at a mirror near the bar.

As different as the geniuses appeared to be, Picasso with an overblown personality and an Einstein who at the time was reserved, the two found each other to be kindred spirits in their vast observations of the world of tomorrow.

The entire cast is excellent but a shoutout also has to go to Jake Busse who pops in as Schmendiman, a crazy, turquois-top-hat wearing inventor of weird, unusable materials. He points out he is the third man in their scenario.

Cast of Picasso at the Lapin Agile at Citadel Theatre Ian Cummisford as A Visitor, Amy Stricker as Germaine, Philip C. Matthews as Freddy, Juliana Liscio as The Countess, Mark Yacullo as Einstein, Dan Deuel as Gaston, Travis Ascione as Picasso, and Jake Busse as Schmendiman (Front). (Photo courtesy of North Shore Camera Club and Citadel Theatre)

A fourth visitor shows up from the mid-1900’s to as his view of the world. But you have to see the show to find out who.

DETAILS: “Picasso at the Lapin Agile” is at Citadel Theater, 300 N. Waukegan Rd., Lake Forest, now through May 22, 2022. Runtime: 90 minutes, no intermission. For tickets and more information visit Citadel Theatre or call (847) 735-8554.

For more shows visit Theatre in Chicago

Jodie Jacobs