‘The Who’s Tommy’ rock musical at Goodman Theatre has been extended and will have a pinball arcade for ticket holders (Photo courtesy of Goodman Theatre)
Broadway In Chicago is partnering with NASCAR to kick off the Chicago Street Race Weekend with a national anthem performance by MJ star Roman Banks prior to The Loop 121 NASCAR Xfinity Series event. The Loop 121 street race will be broadcast nationally on USA network at 4 p.m. CT, Saturday, July 1.
Banks has the title role of ‘Michael Jackson’ in the first national tour of MJ that begins Aug. 1 and continues through Sept. 2, 2023 at the James M. Nederlander Theatre, Chicago,. 24 W. Randolph St. For MJ info visit Broadway in Chicago.
Hot Tix, Chicago’s discount ticket service for the League of Chicago Theatres whose membership consists of more than 200 Chicago area theaters, announced it will offer more competitive pricing options beginning July 3, 2023.
Half-price tickets will also remain an option, but discounts will now vary. The discount service is available online at HotTix.org and in-person at Guest Services inside Block 37 Shops on State, 108 N State Street. This location is open Monday through Saturday from 10 a.m. to 6 p.m. and Sunday 11 a.m. to 5 p.m.
Hot Tix sales generate revenue for the theaters and support theatre industry initiatives. For Chicago productions, visit the League of Chicago Theatres website, ChicagoPlays.com
The Who’s Tommy, reimagined for a new audience 30 years after the original production opened on Broadway, opened June 26 at the Goodman Theatre but already has extended performances twice. Now, the musical is running through Aug. 6, 2023.
The original Tony Award winning co-creators are re-telling the story of Tommy Walker for 2023 audiences—with music and lyrics by Pete Townshend and book by Townshend and Des McAnuff, who also directs. For the extension week schedule and other infor mations visit GoodmanTheatre.org/Tommy or the box office at 170 N. Dearborn (12 noon – 5pm).
Added to the fun is a free pop-up pinball arcade with one game per user. The highest score at the end of the run will win a custom Tommy Fender Stratocaster, signed by Pete Townshend of The Who! The arcade is open 90 minutes pre-show on most dates, closed during intermission, and open for 60 minutes post-show. who beat the high score should capture a selfie that includes their score and the date in the picture and email it to [email protected]. More details at www.GoodmanTheatre.org/Tommy.
Jay Pritzker Pavilion in Millennium Park hosts music and dance performances. (J Jacobs photo)
Midsummer Concert
While it is still “Midsummer,” that sometimes mystical time of year around the Summer Solstice, go to the Grant Park Music Festival in Millenium Park to hear Mendelssohn’s “Midsummer Night’s Dream.”
The concert, with Principal Conductor Carlos Kalmar and the Grant Park Orchestra, is June 23 at 6:30 p.m. and June 24 at 7:30 p.m. in the Jay Pritzker Pavilion. The concert is free for lawn sitters and asks for donations for reserved seats.
The Grant Park Music Festival is presented by the Grant Park Orchestral Association with support from the Chicago Park District and Chicago Department of Cultural Affairs and Special Events (DCASE). For programs and other information visit Grant Park Music Festival.
Back in Millennium Park, the Joffrey Ballet is holding a free, pre-perfomance dance class at 4:45 p.m. June 25. It is followed by a free program at 5:30 p.m. that features the Joffrey Company Artists, the Joffrey Academy and the Joffrey community Engagement Students. For more information visit Joffrey Ballet.
Connor Ripperger as Pippin at Music Theater Works in the North Shore Performing Arts Center. (Photo Courtesy of Music Theater Works)
Highly Recommended
Music Theater works brings Pippin to the North Shore Center for Performing Arts in a production that is a feast for the senses and uses the entire spectrum of theater craft.
Explaining the plot of Pippin is as useful as trying to recall the details of a dream. What exactly happened is not important but the fact that your brain was trying to help you organize your thoughts and work through your anxiety is important.
But for context I’ll tell you that Pippin (Connor Ripperger) who has recently completed his education in Italy is the eldest son of Charlemagne Thomas M. Shea.) Ripperger’s Pippin has a longing boyish quality that is spot on.
The boy is anxious to make his way in the world but the problems in his way are stepmother Fastrada (Savannah Sinclair) and stepbrother Lewis (Andrew Freeland). They want to get rid of Pippin so Lewis will become first heir to the throne.
Though Lewis is purported to be a better warrior, Pippin sets out to prove himself in battle where he learns war is a deadly and dirty business.
Pippin’s grandmother, Berte (Kathleen Puls Andrade), encourages the lad to enjoy life and have more sex. He tries but his experiences bring him little pleasure and take him no closer to a fulfilling life.
Then Pippin falls into the arms of a wealthy widow,, Catherine (Desiree Gonzalez) who has a small b oy, Theo (Di’Aire Wilson). Again the promise of a quiet and distracting domestic life is not fulfilling to the restless youth.
Ultimately, Pippin is back in Charlemagne’s palace where he becomes king after the untimely death of his father. Saddened by the injustices of the world, Pippin attempts to right some wrongs but learns that the problems are more complex than they appear.
The phantasmagoric experience is orchestrated and narrated by the Leading Player (Sonia Goldberg) who promises a finale we will never forget. Goldberg has the needed commanding stage presence that lets you know she is in charge.
The action will not have anything to do with the actual life of Charlemagne. In fact, it includes video games, tv reports and images on large screens mimicking fragments expected from a dream.
Pippinwas co-written and originally directed and choreographed by Chicago native Bob fosse in 1972 at the epicenter of his successful and frenetic career. (Possibly his drug addiction might help explain this bizarre tale of how Pippin’s quest for meaning plays out.) Fosse’s fingerprints (or say footprints) are all over this psychedelic fever dream.
Many of the characters, notably Pippin and The Leading Player, are gloved which is a nod to Fosse’s iconic “Jazz hands” and his desire to accentuate hand movements as part of dance.
This production’s co-choreographers, Mollyanne Nunn and Kaitlyn Pasquinelli, got all they demanded from their talented company who kept the non-stop action energetic and entertaining.
Director Kyle A. Dougan with assistant director Patrick Tierney did an expert job wrangling the large cast of about 20 players around a limited area of the smaller North Theater in the Skokie complex.
Shane Cinal supplied the needed multilevel set design that provided additional room for movement including clever areas for unusual entrances and exits. Andrew Meyers lighting effects were key components of several scenes.
Jazmin Aurora Medina’s colorful fantastical costumes, augmented by Alice Salazar’s hair, wig and makeup, added the right look for the chaotic action. Charlemagne’s toys sealed in plastic and his plastic crown added a subtle brilliance of detail to the array of often absurd imagery.
The music and lyrics of Stephen Schwartz who gave us the highly acclaimed Wicked is high caliber. It doesn’t have a break-out number with the possible exception of “Corner of the Sky.” When performed by the Jackson Five it became #18 on Billboard. Schwartz almost simultaneously wrote Godspell. My initial response was to characterize Pippin as The Fantastiks meets Godspell.
On the surface, Pippin seems weird and fragmented but in retrospect, the Tony Award winning musical is deeply reflective of the competitive and often, tormented mind of Fosse. In a larger context, its the reflection of us all as we strive to live more meaningful lives.
Details: Pippin, a Music Theater Works production, is at the North Shore Center for Performing Arts, 9501 Skokie Blvd., Skokie, IL ,through June 25, 2023. Running time: 2 and 1/2 hours with a 15 minute intermission. for tickets and information visit Music Theater Works or call (847) 673-6300.
Note: Though the production has an overall comedic tone it contains adult themes and language as well as allusions to sexual activity, murder and suicide so may not be appropriate for everyone.
West Side Story at Lyric Opera of Chicago (Photo by Todd Rosenberg)
Highly recommended
For a professional theater experience in Chicago this month you can’t do much better than West Side Story at the Lyric Opera. This Leonard Bernstein / Stephen Sondheim musical deemed cutting edge and somewhat avantgarde when first introduced, is now a classic.
The story by Arthur Laurents is a rather faithful mid-century modern adaptation of Shakespeare’s Romeo & Juliet. Rival teenage street gangs, the Sharks and Jets, battle in New York City streets to maintain what they feel is control of this small piece of Manhattan. Caught in the crossfire of this conflict are Tony (Ryan McCatan) and Maria (Kanisha Feliciano) two tragic lovers from opposite ends of the divide.
The production is a natural for this venue. West Side Story leans more toward opera as the story is told primarily through song, with many that found a firm foothold in the Great American Songbook, such as Maria, Tonight, and One Hand One Heart. They are augmented by the accompaniment of a full live pit orchestra led by conductor James Lowe, a rare treat that would likely not be included in a smaller company.
Director Francesca Zambello has largely remained faithful to the original production directed and choreographed by Jerome Robbins that includes a substantial amount of modern ballet, executed here by choreographer Joshua Bergasse and the production ensemble. The Lyric’s massive Civic Opera House stage gives the dancers ample room to move.
The set design of Peter J. Davison featuring the iconic fire escape, towers over the audience. When Maria sings Somewhere to Tony as they embrace on the balcony while the dance company interprets her message of hope below, the scale of the proscenium provides an opportunity to suggest both the intimacy of the lovers as well as the suggestion of a world beyond.
The depth of the stage allows for a glimpse of the larger city, amplifying the claustrophobic feelings of the gang members whose view of the world is so limited they can not see further than their small neighborhood and the immediate “problems” that they largely have created themselves.
The story of street violence, turf warfare and ethnic battles are all too familiar in today’s environment illustrating that these often-deadly disagreements are nothing new, and difficult if not impossible to eradicate from our communities.
The “Gee, Officer Krupke” musical number comically reminds us of the continuous effort to understand and curb youthful anti-social behavior including psychology, sociology, and criminology as well as the conditions that lead to “delinquency.” Our mothers all are junkies / Our fathers all are drunks / Golly Moses, naturally we’re punks!
In America, Anita (Amanda Castro) and Rosalia (Joy Del Valle) expose the promise versus the realities of “The American Dream,” while in The Jet Song, Riff (Bret Thiele) and The Jets express the perceived value they get from being part of a gang.
I was happy to see a number of young people and children at the matinee performance I attended but caution parents to keep in mind that not all musicals are written for a Disney audience
In the nineteen-fifties and sixties there was a decisive movement to create musical theater with mature themes. Some of these included Carousel and Oklahoma (both of which have been staged at the Lyric) depicting or suggesting domestic abuse, murder and rape. This trend has continued and expanded since then, proving that the American Musical has a place in high art because it has the ability not only to entertain but also to inform, reach us emotionally in a profound way and expand our thinking.
The original West Side Story production ensemble of Laurents, Bernstein, Sondheim, and Robbins with Robert Griffith and Harold Prince did not shy away from difficult topics and instead embraced the trend by exposing the challenges related to depicting racial conflict, disaffected youth, street gang violence, murder and death, through music and dance.
West Side Story is a tragic love story that ultimately encourages us to be more tolerant and thoughtful as to how we perceive, judge and react to each other, particularly those with whom we have perceived differences. It is suggested that there is space for everyone if we open our hearts to each other.
Details: West Side Story is at the Civic Opera House, 20 North Wacker Drive, Chicago, through June 25, 2023. Running time is 2 hours and 30 minutes with one intermission. For tickets and information visit LyricOpera.org
Aurora Adachi-Winter and Matthew C. Yee in “Lucy and Charlie’s Honeymoon” at Lookingglass Theatre. (Photo by Liz Lauren)
Somewhat recommended
Lucy and Charlie’s Honeymoon by Matthew C. Yee is a light romp with a dark twist followed by a hasty, muddled ending wrapped up in a cloud of very good music – all of which is performed by a remarkable cast of actor musicians.
This adventure revolves around Asian identity, Asian stereotypes and the experience of being Asian in America so I will simply set the stage now.
The following characters are all presented in the production as Asian or Asian-American: Charlie (Matthew C. Yee) and Lucy (Aurora Adachi-Winter), Grandma (Wai Ching Ho), Peter (Rammel Chan), Jeff (Daniel Lee Smith) and Bao (Harmony Zhang).
Characters presented as non-Asian are senior security professional agent Feinberg (Mary Williamson), Gabriel (Matt Bittner) and Martin (Doug Pawlik).
Lucy and Charlie met two weeks ago. Charlie has dubbed himself an Asian-American renegade and recently reinvented himself as a cool cowboy which attracted Lucy to him. They married and are on a poorly conceived amateurish crime adventure.
Charlie’s brother Peter, a security agent trainee, finds himself in the awkward position of investigating a convenience store robbery involving the pair.
In the meantime, at a rest stop, Lucy befriends Bao, a recent arrival from China, who is waiting to be picked-up by her sponsor, ostensibly to work for a cleaning company which Lucy quickly determines is really a front for a sex slave operation.
Peter gets his boss Feinberg, his grandma, and uncle Jeff involved to help rescue the couple, who, with Bao, have taken refuge at Grandma’s cottage in Winnebago, WI where the two hope to elude the sex-slave operators, Gabriel and Martin.
Kudos to Matthew C. Yee who wrote the book and music, plays the role of Charlie and performs a significant amount of the accompaniment as an onstage guitarist and does it all very well.
I feel Yee shot himself in the foot by not making his songs a little more universal and slightly less specific to the production.
All of the great commercially successful musicals have songs that can break out of the confines of the story and speak to a larger human condition. allowing them to stand apart and take on a life of their own.
The storyline had a spark of brilliance in the tradition of many classic screwball comedies, crime mysteries or culture clash stories. My major complaint is the use of gratuitous gun violence to resolve and ultimately squander the conflict that Yee spent the first act rather expertly crafting.
Additionally waving guns around in a post Alec Baldwin “Rust” era can be a bit disconcerting to audience members who find themselves looking down the barrel for extended periods of time. (Note to violence designers R+D Choreography, direct the action upstage as much as possible).
In act two the story takes a jarring turn, resulting in a schizophrenic tone. If you want to have fun then have fun. If you want to be serious then do that. Mixing the two has been done but it takes a deft hand. In this case it just seemed like an easy way out. This might be satisfactory in an improvisation or workshop but not as a finished production in a downtown theater especially if there is any thought of wider distribution.
Much of the overall production credit goes to director Amanda Dehner. The entire cast is outstanding, while also being exceptional musicians, breathing life into the material provided by Yee.
It was apparent they understood his vision and executed it expertly in front of a dizzying and whimsical array of floor to ceiling Western and Far East artifacts assembled by scenic director Yu Shibagaki.
Screen projections by projection designer Paul Deziel were helpful for sharing song lyrics and interjecting a bit of humor when referencing images we would were not be able to see. Sully Ratke provided a thoughtful and amusing costume selection.
Yee’s portrayal of Charlie affects a kind of deep silent type cowboy image that definitely takes a backseat to the over-the-top energy of Lucy who is driving much of the action. Peter, Grandma, and Jeff as a comical triumvirate of stereotypes handle the material well. It is obvious the playwright and the actors understand how far they can go when working with ethnic humor.
This group would make a very effective sitcom or web series. But I caution Yee to treat them and their situations with more respect.
Here is my dilemma. I work with an Asian non-profit organization in Uptown, have a number of close Asian friends and some individuals of Asian descent in my extended family. When I think about recommending Lucy and Charlie’s Honeymoon to them, I cringe.
The Boomers and GenX folks especially those who were not born here might find some of the content offensive or at least sophomoric and it’s a bit too rough for the teen and preteen crowd.
That leaves the middle 20- to 40-year-olds who were born here and grew up in a cross-cultural environment that at times, confused and maybe even embarrassed their elders. It’s full of a lot of insider humor. I get this and I know two thirty-something Asian guys who would love this and totally get it. Though this limited target audience is probably not adequate to create the level of success the essence of this play deserves.
Every American-ethnic group has experienced what Yee is trying to convey and it’s an important story. But it has to be told in a way that a general audience can understand and appreciate.
Sex-trafficking and other exploitation of immigrants is a very serious topic that deserves more than a cursory glance and cartoonish treatment.
So as much as I love the actors, characters and the music and appreciate the premise, I can only somewhat recommend Lucy and Charlie’s Honeymoon.
It’s an entertaining Asian-American rockabilly musical but playwright Yee should give “Lucy and Charlie” a second look.
Details: Lucy and Charlie’s Honeymoon is at the Lookingglass Theatre, 821 N. Michigan Avenue through July 16, 2023. Runtime is 2 hours and 15 minutes with one intermission. For tickets and information visit lookingglasstheatre.org
Chicago Pride Parade, (Photo courtesy of Choose Chicago)
It doesn’t matter if a member of the Pride community. The City of Chicago takes pride in supporting LGBTQ+.
Everyone is invited to what has become huge, fun, food and entertainment events such as Pride Fest in the Halsted Street area, a food and entertainment festival in Grant Park, and voila, one of the country’s largest Pride Parades that swings through several of the city’s neighborhoods.
Those events are in addition to some that already took place in neighborhoods and suburbs last weekend and events still to come at Navy Pier and the Chicago area. See the details and mark the events on the calendar.
Chicago Pride Fest, a two-day annual festival in Northalsted
What to expect: Held the weekend before the Chicago Pride Parade, the Fest features music on three stages, good Chicago drag performances, the Chicago Gay Men’s Chorus, a Pet Parade, a high-heel race, a Youth Pride Space for teens and several merchandise and food vendors.
In addition, SHAB, a pop artist and Iranian refugee, will be among featured guests performing on the Bud Light North Stage on Saturday. She is just back from a UK tour centered on her new video Indestructible.
Details; Centered at Halsted and Addison, June 17-18, 2023, it opens at 11 a.m. Saturday and ends at 10 p.m. Sunday and attracts about 60,000 people over the two days. A $15 donation is requested to cover expenses. For more information visit Chicago Pride Fest 2023 | 06/17/2023 | Choose Chicago.
Pride in the Park
What to expect: an annual, two-day music festival that includes food, merchandise and art. It draws big name stars that this year includes Zedd, Zara Larsson and Saweetie.
Details: Grant Park, June 23 and 24, 2023. For more information visit Pride in the Park
Back Lot Bash
What to expect: Dedicated to women, it’s a highly attended block-party of food and music that this year features DJ Mary Mac and Lauren Sanderson.
Details: Held in Andersonvilee, June 24, 2023. For hours and location or more information visitBack Lot Bash Chicago.
Navy Pier Pride
What to expect: Music in three Navy Pier venues.
Details: Entertainment June 24-25 on the West Performance Platform from 11 a.m. to noon and more entertainment on the Orsted Wave Wall Performance Platform from noon to 7 p.m. Entertainers at the Navy Pier Beer Garden from 2 through 11 p.m.
What to expect: Begun as a protest march in 1970 following New York City’s Stonewall Riots, it has become one of Chicago’s largest parades with close to 200 entries and attracts more than a million people. Street closures start around 8 a.m. at Montrose, Irving Park and Wellington at Broadway and Addison and Grace and Roscoe at Halsted. Streets and fully reopen by 8 p.m.
Details: The parade is June 25. It assembles at 10 a.m. then starts at noon in the Uptown neighborhood at Montrose and Broadway. Then, it winds through neighborhoods including East Lakeview and ends in Lincoln Park near Diversey Parkway and Sheridan Road.
Kimberly Akimbo, a new musical, took five Tony Awards. (Photo courtesy of the Tony Awards and the Kimberly Akimbo musical production company)
Watching the American Theatre Wing’s Tony Awards was refreshing Sunday night
We didn’t have hosts trying to be funny or clever. And whether our idea of who should win actually took home the Tony, we got to see some excellent Broadway performances.
In case you missed the show here are the Tony winners:
Best Play – Leopoldstadt plus Best Actor in a Featured Role in a Play, Brandon Uranowitz, Best Director of a Play Patrick Marber and Best Costume Design of a Play Brigette Reiffensteul in a 50-year-long family saga of love, faith, identity by Tom Stoppard. If you get to NY this June try to see it at the Longacre Theatre before it leaves July, 2, 2023.
Best Musical – Kimberly Akimbo by multi award winners David Lindsay Abaire and Jeanine Tesori is among the show’s five Tony Awards. The show also won awards for Best Book of a Musical (Abaire), Best Original Score, Best Actress in a Musical (Victoria Clark) and Best Actress in a Featured Role in a Musical, Bonnie Milligan. The theme is a very different teenager tale about struggles that range from family secrets to her own disease of rapid physical aging.
Best Revival of a Play – Top Dog-Underdog by Pulitzer Prize winner Susan Lori-Parks that is a dark comedy of two brothers back on Broadway for its 20th anniversary.
Best Revival of a Musical – Parade, a Jason Robert Brown and Alfred Uhry musical about a dramatic, true, grave injustice in Georgia.
Best Actor in a Leading Role – Sean Hayes for Good Night, Oscar, by Doug Wright about troubled entertainer Oscar Levant. The show with Sean Hayes in the starring role came from Goodman Theatre in Chicago where it was a sell-out hit.
Best Actress in a Leading Role – Jodie Comer as Tessa in Prima Facie by Suzie Miller about a young, brilliant barrister facing a moral conflict. A short Broadway run, the show opened in April at the John Golden theatre but closes July 2, 2023.
Best Actor in a Leading Role in a Musical – J. Harrison Ghee for Some Like It Hot. Yes, it’s the old story of two musicians (played by Tony Curtis and Jack Lemmon in the 1959 Billy Wilder/IAL Diamond film) who are fleeing the Chicago mob by train during Prohibition. The current show’s Book is by Matthew Lopez and Amber Ruffin with Music by Marc Shaiman and Lyrics by Scott Wittman and Marc Shaiman. It has an open run at the Shubert Theatre.
For Best Actress in a Musical see Kimberly Akimbo/Victoria Clark above.
Best Actress in a Leading Role in a Play – Miriam Silverman in The Sign in Sidney Brustein’s Window which takes place in Sidney and Iris Brustein’s Greenwich Village apartment where ideals sardonically clash with reality in the 1960s.
Best performance by an Actor in a Featured Role in a Musical -Alex Newell for Shucked, a show with the unlikely theme of mixing a NYC comedy writer with two Nashville stars.
Best performance by an Actress in a Featured role in a Musical – Bonne Milligan see Kimberly Akimbo above.
For more Tony categories and winners visit Tony Awards.
First, find out which Broadway shows are deemed award winners when the 76th annual Tonys are on CBS at 8 p.m. ET June 11, 2023.
Then, don’t wait until Fall to see some former good Tony-award winning musicals playing this summer in the Chicago area.
Goodman Theatre is doing The Who’s Tommy this summer. (Photo courtesy of Goodman Theatre)
The hot ticket this summer is Goodman Theatre’s “The Who’s Tommy.” Opening June 13 for previews, Goodman has already added eight performances.
Three decades after the show won Tonys for its creators, Pete Townshend and Des McAnuff, the duo has reimagined their production and is presenting this updated version first in Chicago.
The show’s official opening night is June 26 and runs through July 30 in Goodman’s Albert Theatre. For tickets and other information visit Goodman Theatre.
Another musical that brings back the old goodies is “Hair,” once a ground breaker in (tongue firmly in cheek) costume design.
Playing at Skokie Theatre June 23-July 30, audiences are likely to want to hum or join in such old favorites as “Good Morning, Starshine,” “Aquarius” and “Let the Sunshine In.”
Its book and lyrics by Gerome Ragni and James Rado and music by Galt MacDermot will remind audiences that yesterdays’ important issues of world peace and global responsibility are still around. For directions and more information visit SkokieTheatre.org.
A third musical, a goodie though not at all oldie except arguably in an underworld concept that uses such know characters as Orpheus and Eurydice, is the 2019 Tony Award winning production, “Hadestown.” On stage at the CIBC Theatre for a short run, June 20-June 25, the production is brought to the city by Broadway in Chicago. For tickets and other information visit Broadwayinchicago/Hadestown.
A lot of what happens on in Millennium Park is in the Pritzker Pavillion (Photo by J Jacobs)
Chicago Blues Festival
Go to Downtown Chicago to Millenium Park for the Chicago Blues Festival, June 8-11, 2023.
It celebrates Chicago contributions to soul, R&B, gospel, rock and hip hop. And it’s free. Visitors can bring a chair or spread out but lots of folks stand to watch because others are standing.
Hours: Thurs: 5:30-9 p.m., Friday-Sunday: noon – 9 p.m. Enter from Michigan Ave. at Washington St. or Madison St., Randolph St. or Monroe St. Millenium Park is free and has a Welcome Center on Randolph Street that is open daily from 9 a.m. to 7 p.m. but open later on performance nights. For Blues Festival information visit City of Chicago :: Chicago Blues Festival
Or go to Skokie for MadKap Productions’ 2023 Short Play Festival June 10 at 7:30 p.m. and June 11 at 2 p.m. It’s just $15.
Plays are each about 10 minutes and written include pieces by David Alex, DC Cathro, Eric Coble, Eva Schultz and Judy Schindler
For more information visit Skokie Theatre. The theater is at 7924 Lincoln Ave., downtown Skokie near the S.W. corner of Lincoln and Oakton Avenues.
Navy Pier (J Jacobs photo)
In addition, there is Chi-Soul Fest, a free, two-day music/comedy festival throughout Navy Pier.
The Fest runs from 2 to 11 p.m. June 10 and 2 to 8 p.m. June 11. For the entertainment line-up and location on the Pier visit CHI-SOUL FEST 2023 | Navy Pier. Navy Pier is at 600 E. Grand Ave. Phone is 800 595-PIER (7437).
The Porch on Windy Hill, Morgan Morse, Lisa Helmi Johanson, David M. Lutken. (Photo courtesy of Northlight)
It is impossible not to move the shoulders or tap the feet when Lisa Heimi Johanson as the bi-racial Mira, David M. Lutken as her Appalachian grandfather, Edgar “Gar,” and Morgan Morse as her boyfriend, Beckett, pick up their instruments and treat audiences of “The Porch on Windy Hill” to a couple of hours of well-played, traditional bluegrass.
The three actors, make up the cast of a show playing now through May 14, 2023, at Northlight Theatre in Skokie.
Lisa, a Broadway, national tour, regional and tv actress/singer/musician, David Lutken, a noted Broadway, Carnegie Hall, Nashville, musician/actor, and Morse, a talented musician and popular regional actor, are also three of the show’s four writers.
They are led by international, off Broadway and regional playwright/director/choreographer Sherry Lutken who conceived the play.
Arguable, there is another cast member: the play’s traditional Appalachian music.
“We used music to tell the story,” Sherry said, noting that people from different backgrounds could amicably come together when appreciating music.
And thus, “The Porch On Windy Hill” was conceived to incorporate a beloved regional music form into a fragile family reunion as a healing lotion. Its writers hope the show will spark discussions on COVID’s disturbing byproduct of anti-Asian sentiment.
A recent telephone interview with Sherry delved into how the show and its theme came to be. After all, except for one-person celebrity interpretations, most theater productions don’t have the play’s writers doubling as the cast.
Sherry Lutken (Photo courtesy of S Lutken)
It started with COVID changing what Sherry could substitute in her theater schedule. The venue wanted something small, instead of the multiple set and costume changes required by the slated production.
“It was a scary time for a lot of people. There was all this messiness. We had a show scheduled for 2021. We still hope to do it. It had a large cast.”
The “we” are Sherry and husband David. He co-devised and starred in the multi-award-winning Woody SEZ: The Life and Music of Woody Guthrie which included other talented musician/actors and has played internationally and in the United States including Chicago.
So, while stuck indoors, sheltering from COVID but looking for a different play, “a story that would resonate,” Sherry said, her thoughts turned to how a close, bi-racial friend would be feeling given all the hate expressed against Asians and what her friend would tell her children.
“There was a mindset out there leading to rising aggression,” she said.
Explaining that Lisa who was passionate about justice was biracially white and Korean, Sherry said, “We thought of Lisa and how she expressed herself in her poetry on social media.”
The Lutkens then added Morgan, an actor/musician, writer they knew from his regional work. The four of them started developing what became the script for “The Porch on Windy Hill.”
“We’d dive into ideas developing the basic premise,” Sherry said. “We were on zoom with long discussions on the subject matter, adding and then cutting. It was creative. It became magical.”
She compared the process to a sculpture that starts with a block of wood or stone. “You whittle and chip away until a bird emerges,” she said.
She added that during this time, “David was mining the American landscape of music. Its roots.”
Lisa Helmi Johanson, David M. Lutken, Morgan Morse in The Porch on Windy Hill
“We often talk about how music melds the sounds carried to this country. Music is part of our culture. There are the indigenous peoples, the enslaved, the folks who try to forge a better life. Music speaks to people at a very deep level.”
She thought it brought people “who deserve to be in the same space, together.”
“In our personal life, I was thinking of my friend and what she experienced and that started me thinking about using the idea of Korean/white, and what it means to be different, to be biracial… what it feels like. I imagined my friend whom I dearly loved, speaking to her children.”
She added, “This story needs to be told.”
That became a seed for the basic plot of feeling different. Plus it could combine with music and see where music could lead.
“Once music was in (the play), we still had to start a conversation. It became what we’re hoping to achieve. We all wrote together. And we worked on it some more in a workshop with dramaturg Christine Mok”.
There was a lot of the talk is not in the play.”
In “The Porch on Windy Hill,” music led Mira, a biracial Korean-white classical violinist, to “Gar,” her estranged Appalachian, banjo-strumming grandfather and change their conceptions and misconceptions of previous family interactions.
The music and action is facilitated by Mira’s boyfriend, Beckett who is doing his doctoral dissertation on American folk music.
“David and I were talking about it – what was in my head. It’s how different people coming to America brought their music and how indigenous people and enslaved people had theirs. Music evolved in this country,” said Sherry.
“We all wrote together. And we worked on it some more in a workshop with dramaturg Christine Mok.”
The play premiered at the Ivoryton Playhouse in Connecticut, fall of 2021.
“It’s an exciting way to create theatre. We were living the theater process when we were all stuck inside wondering what would happen to theater.
“Music can be really purposeful. As a healing concept, it’s perfect.”Sherry said.
“The Porch on Windy Hill” will be at Northlight Theatre in Skokie through May 14, 2023 before moving to Weston Theater in Vermont in August and Merrimack Repertory Theatre in Lowell, MA, April 2024.
