City Lit has you seeing red

 

Skyler Tipton and Orion Lay-Sleeper. Photos by Steven Townshend (Distant Era)

Highly Recommended

In “Changing Channels” at City Lit Theater, Maggie Carlin and boss Eddie Gilroy abruptly learn that creating what will become an iconic TV comedy show is not all fun and games.

The storyline is a fictional account of actual events and the characters are thinly veiled portrayals of real people.

The character of Eddie Gilroy is Jackie Gleason, a representation of one of the early giants of television.  The creator of the popular syndicated situation comedy “The Honeymooners,” Gleason is played by Orion Lay-Sleeper with a perfect balance of requisite broad humor, bombastic personality and all-important charm.

The massive popularity of Gleason, and by extension Gilroy, is the ability to play a loud and at times obnoxious character, and still keep him likeable.

Underneath his rough exterior, Gleason was a sensitive and wounded person, giving him the ability to play wonderfully dramatic roles and portray characters like his alter ego “The Lost Soul” a perpetual outsider only able to observe life but never joining in.

Gleason was a softie and Lay-Sleeper did his homework, allowing him to tap into that dichotomy necessary to deliver to us a full three-dimensional interpretation of Gilroy.

The first appearance of “The Honeymooners” was as a series of short, ten-to-twenty-minute, comedy sketches on Gleason’s variety show.

Gleason’s on camera wife, Alice Cramden, was played by Audrey Meadows. However, what many people do not know or have forgotten is that Alice was originally played on the DuMont Network by Pert Kelton who is the basis for this version’s Maggie Carlin played by Kat Evans.

Feeling the need for an actress who could stand up to him, Gleason liked to spar with Kelton who played a more aggressive and caustic Alice that was different from the later, more well known, stern but warm, preson portrayal by Meadows. Consequently, Evans gives us a more outspoken Carlin with a bit more Brooklyn attitude and fiery independence.

It is perhaps this attitude that sets in motion the central event of this play clearly and convincingly crafted by John Reeger.

The premise is simple. Currently appearing on the fledgling DuMont TV network, Gilroy has an offer to move his wildly popular show to CBS. However, his manager, “Bullets” played by Johnny Moran, informs him that CBS is requiring all of its employees to sign a loyalty oath.

Due in large part to the “Cold War” the nation is in the midst of a “Red Scare.” Certain politicians and right wing organizations are terrified that the movie industry and now television are being infiltrated by communists bent on utilizing this new media to promote their propaganda to the American public.

Kenny (Andrew Pappas) in Citi Lit’s “Changing Channels.”

A list of actors, directors, and writers suspected to be commie sympathizers has been distributed to broadcasters and sponsors with the threat to boycott their companies if any of the listed people are hired.

In order to move the show to CBS everyone must sign the loyalty oath whether they are listed or not. As it turns out, Carlin and husband Peter (Skyler Tipton), are on the list because they attended a rally in support of labor unions. As a matter of principle Carlin refuses to sign, setting up the conflict in the storyline.

As it turns out, in reality, we know Kelton did not go on to make the more popular version of the “Honeymooners.” In fact, she basically did not get any really good acting opportunities for about 15 years until she created the role of the widow Peroo, Marian’s mother, in the Broadway version of “The Music Man” which she went on to play in the movie.

The character of Kenny (Andrew Pappas) is a stagehand who overhears much of what is happening. As part of the staff he will have to make some choices of his own. He is us.

Reeger gives the character of Kenny a chance to express his own dreams of success to Peter. It’s a juicy short monologue which Pappas literally “knocks out of the park.”

“Changing Channels” is not so much about what happened or even how it happened but rather, that it happened at all. That is the cautionary tale.

In our current political climate playwright Reeger is asking us to learn from the past, to see the danger in political paranoia, ideology run amok and social divisiveness–to witness how this plays out on the micro level–how, political mass hysteria effects actual people living their own day-to-day lives and to see how those who simply standby and observe are complicit in the conspiracy.

City Lit does a nice job of offering thought provoking entertainment with a good balance of humor and drama, and this particular ensemble headed by director Kevin Theis was terrific.

“Changing Channels” is presented by City Lit Theater Company at 1020 W Bryn Mawr, Chicago, IL 60660 (on the second floor of the Edgewater Presbyterian Church). Runtime is about 2 hours with one intermission. Visit citylit.org for tickets and information.

Reviewer: Reno Lovison

For more reviews visit Theatre in Chicago

 

Feline Fun

 

Highly Recommended

Music Theater Works’ production of CATS at Skokie’s North Shore Center for the Performing Arts is a nonstop “catcaphony” of frenzied feline fun.

With elements of musical theater, dance, opera and acrobatics there is definitely something for everyone.

Featuring oversized set pieces, designer Milo Bue gives us a cat’s eye view of their world. Presented in the smaller North Theatre of the Skokie venue it is the perfectly intimate size for this cabaret style production.

Composer Andrew Lloyd Webber conceived of this production based on his love for the work of T.S. Eliot’s Old Possum’s Book of Practical Cats that celebrates the personalities and behaviors of cats.

Using much of Eliot’s poems nearly verbatim, Webber employs a variety of musical styles and movement disciplines to project the playful, often quirky and always entertaining nature of each of the cats.

From Puccini to Elvis – – with tap dancing cats, cats on pointe, chandelier swinging acrobatics and floor level tumbling, cats are in constant motion. They’re under the TV, on top of the table, climbing the lamp and popping up in the audience. With a cast of thirty performers, cats appear everywhere.

It is no accident that head cat wrangler Mandy Modic is both director and choreographer as this is a huge feat of synchronized movement.

The action is nonstop and requires a person with the ability to essentially stage an elegant circus performance while making it look like a cohesive theatrical presentation which Modic seems to do effortlessly.

Like a good ringmaster she has you looking everywhere and delighting you with every glance. In the massive chorus numbers, each performer is totally engaged in their own unique stage-business, ready to entertain whoever happens to be focusing on them.

The entire cast is remarkably talented in both voice and movement. I’m sure assistant choreographer Jordan Beyeler and dance captain Emily Ann Brooks (Carbuckety) contributed massively as there are a lot of steps to learn and a lot of dancers who need to learn them.

The challenge for some is the lack of a plot. When pressed for an explanation of its meaning Webber famously quipped, “It’s about cats.”

There is no actual storyline but rather a series of individual short vignettes showcasing the discernible personalities of each cat which further projects the well-known notion of these oddly independent creatures.

The musical highlight of the show is of course Webber’s magnum opus “Memory” sung tremendously by Ava Lane Stovall as Grizabella the aged former glamour cat, then later revisited in a poignant sweet reprise with the compassionate kitten Sillabub (Irene Lo). The other vocal standout is Old Deuteronomy played with soulful basso perfection by Sam Nachison.

Additional favorite musical numbers include the playful Mungogerri (Alex Villasenor) and Rumpleteazer (Madison Jaffe-Richter) notably responsible for several missing objects; Magical Mister Mistoffelees (Nick Johnson) the consummate showman – – part magician and part whirling dervish always available to entertain; and, hanging out at the stage door, Gus, the theater cat (John Cardone) who was once quite famous in his day.

Musical director Linda Madonia and her eight-piece orchestra aided by assistant Alina Lowenstein does a spectacular job with the Webber score and vocals.

The well-executed diverse wardrobe, hair, and makeup are a standout and no small task. The addition of the “cat cam” and on-stage TV (engineered by media designer Anthony Churchill) are a fairly recent addition offering an updated multimedia component with a vintage vibe.

This is a must-see for theater kids and dance students as well as anyone looking for an enjoyable, highly entertaining evening.

DETAILS: CATS presented by Music Theatre Works is at North Shore Center for the Performing Arts, 9501 Skokie Blvd., Skokie, IL through March 29, 2026. Runtime is about 2 hours and 20 minutes with one intermission. For tickets and information visit musictheaterworks.com or call the box office at (847)673-6300.

Reviewer: Reno Lovison

For more reviews visit Theatre in Chicago

Weather outside today is frightful but

Photo by Jeff Carrion / Chicago Botanic Garden

Indoors is delightful

 – At the Chicago Botanic Garden which still has its Orchid Show until March 22, 2026 and its “Feeling Groovy” theme brings out the smiles. 

Among the show’s special events are the Illinois Orchid Society’s Weekend Marketplace March 7 -8 from 10 a.m. to 4 p.m and the Spring Show and Sale March 14 and 15 also from 10 a.m. to 4 p.m.

Find more info at The Orchid Show | Chicago Botanic Garden

And

– Where “Hamilton” is playing.

The multi-award winning show opened this week at the CIBC Theatre. It will be in Chicago Mar 4 – Apr 26, 2026. Even if you saw it once, the music of jazz, R&B and hip-hop will brighten your day. 

With book, music, and lyrics by Lin-Manuel Miranda and choreography by Andy Blankenbuehler  you will understand why it won 11 Tony Awards.

The CIBC Theatre is at 18 W Monroe St, Chicago, IL 60603

For ticket info visit  Hamilton – Broadway In Chicago

 

 

 

Sinners and other SAG awards

 

 

Yes, there was another awards show last night. The movie (and in some cases TV) award shows leading up to the Academy Awards (Oscars) later this month continued Sunday with the Screen Actors Guild Awards in  Shine Auditorium. Los Angeles and televised on Netflix.

Its awards upset some earlier expectations.

Formerly called the SAG Awards, it has strongly foretold the who and what to expect at the 98th Academy Awards ceremony which happens  in two weeks on March 15, 2026.

For those readers not tuned in to award ceremonies, the Oscars, as they are known, are for people and movie related categories released the previous year, in this case 2025.

“One Battle After Another” and, after this past Sunday, “Sinners,” are top contenders.
“One Battle” did well at the Golden Globes, the Producers Guild Awards, the BAFTAs and the Directors Guild Awards. But “Sinners” took Best Ensemble  Sunday. After One Battle’s mega wins, it’s nice to know other films are in contention for awards.
A strange, supernatural style film written, directed  and produced by Ryan Coogler,”Sinners” combines blues music and gangster style drama during a day in 1932 in Clarksdale, Mississippi.
it stars Michael B. Jordan in dual roles as identical twins who return to their hometown where they are faced with supernatural evil.
Jodie Jacobs

 

Somewhat Recommend

Comical exploration of reality.

There are two good reasons to see Harvey, by St. Sebastian Players. One is the humorous quirky Pulitzer Prize winning script by Mary Chase and the other is the exceptional performance of Jeff Broitman as Elwood Dowd, the pleasant oddball fellow whose companion and best friend is a six-foot rabbit.

Elwood lives with his sister Veta (Julie Utrup-O’Nan) and niece Myrtle Mae (Claire Rutkowski) who have come to live with him after the passing of the family matriarch.

The problem is Elwood owns the house and the two women are mortified and generally disturbed by Elwood’s behavior especially as it relates to his peculiar friend. Consequently, they conspire to have him committed to the care of Dr. Chumley (Robert Dean) aided by Dr. Sanderson (Eric Prahl).

This story has a mid-century vibe that projects sensibilities which have evolved since that period when experimental medical concoctions and institutional confinement were the accepted treatment for those considered to be out-of-step with societal norms.

There is also a noticeable overtone of misogyny particularly between Dr. Sanderson and his nurse Ms. Kelly (Erin Gordon) which is offered tongue-in-cheek for comic effect but might be a bit cringey for some.

It’s clear that Elwood is not a threat to himself or others and in the end this story has us consider how real or unreal are other people’s reality, and whether every peculiarity requires intervention.

With a number of laugh-out-loud moments, it’s just good fun. Director Lisa Ramos has good control over the action and the hinged set design of Emil Zbella was commendable, while Broitman brings an engaging natural whimsical charm to the role of Elwood worthy of any stage.

Established in 1981, the Saint Sebastian Players, according to their website, is a membership-based theatre company that brings together actors, directors, writers and technical crews in a supportive environment that fosters learning and growth.

The venue is comfortable with tiered seating that accommodates about 75 in the basement of St. Bonaventure Church. There is no elevator so be prepared to navigate some stairs. Limited free parking is available in the back with plenty of additional street parking.

Details: “Harvey” by St. Sebastian Players is at St. Bonaventure, 1625 W. Diversey Parkway through March 8, 2026. Runtime is about 2 hours with one intermission. For ticket information and schedule visit saintsebastianplayers.org

Reno Lovison

For more reviews visit Theatre in Chicago

The Irish Through Song

Recommend

The Irish and How They Got That Way by Porchlight Theatre Company at Ruth Page Center is an entertaining but arguably superficial look at Irish History particularly as it pertains to Irish American Heritage.

The production is essentially a review or series of Irish songs strung together with a narrative by Frank McCourt author of the Pulitzer Prize winning book Angela’s Ashes.

It features about 35 songs or song segments very well performed by Emily Goldberg, Michael Mahler, Leah Morrow and Luke Nowakowski. Music Direction and Additional Musical Arrangements are by David Fiorello and Original Musical Arrangements are by Rusty Magee with Elleon Dobias (Musician).

Director David Giorlmo keeps the story moving and the overall theme upbeat and fast paced. A simple set design features a backdrop of three cloth sails with projected historical and evocative images assembled by digital designer G. Max Maxin.

McCourt’s style is to take a somewhat comical view of tragedy which he does here in his history of the Irish people. It includes their mistreatment by the British, the infamous potato famine and their less than welcoming arrival in America including job notices stating Irish Need Not Apply. It also does not shy away from the stereotypic love for drink that incidentally had a devastating effect on his own family.

The production takes time to celebrate the contribution of The Irish to the building of America, specifically as it pertained to mining and railroad work. The narrator suggests that, “You need only trace your finger across a map of the railroads in America to find the graves of thousands of Irishmen.” These contributions led to the Irish participation in trade unions and politics.

The production also pays tribute to those of Irish decent who served in the military beginning with their participation in the Revolutionary War, the American Civil War on both sides as well as WWI and WWII not only as soldiers but in spirit such as George M. Cohan who gave us songs like You’re a Grand Old Flag, Yankee Doodle Dandy and Over There.

In light of current immigration issues, it is easy for descendants of such earlier immigrants as the Irish, Italians, and Poles to forget or be ignorant that their forebearers not that long ago, were subject to the same racial slurs and vitriol that newer immigrant groups now face.

Publications like Harper’s Weekly and Punch portrayed Irish immigrants with exaggerated, animalistic features equating them to various apes including gorillas implying that Irish people were biologically inferior and prone to violence.

Signs and editorials described Irish workers as “invaders” who would “steal jobs.” Newspapers and labor groups sometimes framed Irish immigration as a threat to American labor “flooding the market” and “undercutting wages.” This rhetoric helped fuel riots and mob violence in cities like Philadelphia and New York.

Some newspapers suggested that The Irish were, “pouring into our cities to steal elections” warning that Irish voters would “corrupt the ballot box.”

Holding up a mirror to reflect on our history, our accomplishments and our humanity, sometimes ugly but always real, is partly the job of theater.

On one level, the production is a joyous expression of the Irish people through song but it is also a reminder of pain and struggle with a wink and a nod because Frank McCourt wants us to see the absurdity of life and the humor in being human.

You’ll probably love this if you’re of Irish heritage because of the familiarity of the songs and background message. If you’re a few generations removed or have no Irish heritage you will likely find some insight into this segment of America that makes up about 10% of the overall population.

The Irish and How They Got That Way by Porchlight Theatre Company is at Ruth Page Center for the Arts, 1016 N. Dearborn St., Chicago. Runtime about 110 minutes with one intermission. Tickets are available at PorchlightMusicTheatre.org or by calling the Porchlight box office at 773.777.9884.

Reviewer Reno Lovison

For more shows visit Theatre in Chicago

Confederates at Redtwist

 

Madelyn Loehr (Candice), Monique Marshaun (Sandra) and Makari Tobinson-McNeese (Malik) Photo by A.R. Boseman

Highly Recommend

Be prepared – – I am getting ready to gush because this production of Confederates by playwright Dominique Morrisseau and directed by Aaron Reese-Boseman at Redtwist Theater is the level of writing and performance I hope to see when attending a play.

This intimate drama delivers a message of unconscious bias and institutional slavery put into motion generations ago but still very much alive and grappled with today on both sides of the racial divide.

Sandra (Monique Marshaun) a female African American social science professor at a predominantly white university has been racially targeted through the appearence of an image of her face “photoshopped” on to the body of an enslaved wet nurse with a white baby at her breast.

The message seems to suggest that Sandra shows favoritism toward white students over her black students and is doing so perhaps as a way to maintain her own status as the most senior woman of color in her department.

The image has caused great distress to Sandra resulting in frank and sometimes too honest discussions between her, her students and her colleagues as she endeavors to discover the person or persons behind the perceived slander.

Alternately, the action shifts to the life of enslaved woman Sara (Shenise Danyel) whose brother Abner (Makari Robinson-McNeese) has escaped the plantation toward the end of the American Civil War, and taken up arms with the Union Army.

Sara also wants her freedom but is hesitant to take action. In the meantime, her master’s daughter, Missy Sue, claims to have been enlightened through visits to the North where she has come in contact with abolitionists.

Madelyn Loehr (Candice), Monique Marshaun (Sandra) and Makari Tobinson-McNeese (Malik)

She claims to have always loved Sara who was her companion and confident as a child and wants her to join in a scheme to transfer information about Confederate troop movements through Abner to the Union Army. Sara doesn’t know who to trust and what to do.

Time shifting within a story can be quite challenging but this Redtwist company under the direction of Aaron Reese manages it seamlessly. It includes some necessary adjustments to the clever set design of Kevin M. Rolfs.

The costumes by Marquecia Jordan are well considered but Missy Sue’s late 18th Century traveling dress is a standout.

Sandra and Sara stay within their own time periods while McNeese as Abner also plays university student Malik. Likewise, Loehr has the roles of Missy Sue and student Candice while Tocarra Castleman plays the enslaved LuAnne and University Instructor Jade.

Each of these actors morph effortlessly between their roles including a number of quick costume changes and substantial linguistic shifts in dialect that appears almost like a magic act.

Sandra and Sara face their own existential dangers as they confront the challenges of their white male dominated societies while simply trying to improve their lives and advance their positions.

The expert handling of this somewhat complex storyline along with the requisite dialog in both academic and historic vernacular is superb. Each of these actors have literally consumed their roles performing the material with total believability, naturalness and nuance. This is the style of acting that I yearn for and unfortunately find missing in many productions today.

I am reluctant to speak about any individual actor as they each without equivocation equally contribute to the success of the whole. This is a masterclass in acting. Any young performer looking for inspiration should rush to see this.

How is it that this superb production is hiding away in a thirty-seat storefront theater in Edgewater? Someone needs to gather up this show with this company and put them in a bigger venue with a larger audience. Both the performers and the story deserve to be seen and heard.

This goes to demonstrate that you do not need massive budgets or star power to create great theater. There is simply no substitute for good writing and insightful performance.

Redtwist is a not-for-profit enterprise that deserves your support as an audience member and/or as a philanthropic contributor.

Confederates is at Redtwist Theater, 1044 W. Bryn Mawr, Chicago through March 8, 2026. Runtime is 90 minutes with no intermission. Visit redtwisttheatre.org for tickets and information.

Reviewer Reno Lovison

For more shows and reviews visit Theatre in Chicago

—

Admissions

Highly recommended

“Admissions,” a play by Joshua Harmon now at Citadel Theatre, should have its audiences talking about who, how and why a graduating high schooler is readily admitted to the college of choice.

Bright high school student Charlie Luther Mason, superbly interpreted by Justin Jarzomek, is applying to college. He has the grades and activities needed to supposedly get into many prestigious Eastern universities. That is not the problem.

We learn that his friend who wrote “black” on his application because his dad is black, gets into Yale but Charlie is on the school’s deferred list.

Ginnie Peters (Tina Shelley) his friend’s mom, is white and a good friend of  Charlie’s mom, Sheri Rosen-Mason (Susie Steinmeyer), at least when the play begins.

Spoiler alert: Charlie is admitted to a prestigious university by the play’s end but but thinks he shouldn’t go because he is supposedly taking up a spot for a less advantaged student.

How he arrives at that kind of thinking is really what this this play is all about. That, and the attitude of Charlie’s mom Sheri, a college admissions  administrator (not clear if she works for the high school) and his dad, Bill Mason (Tim Walsh) offer the play’s philosophical bent.

Directed by Beth Wolf, the play should spark some interesting conversations.

Admissions is at Citadel Theatre, 825 Waukegan Rd. Lake Forest, Il now through March 15, 2026.

Jodie Jacobs

For more reviews visit Theatre in Chicago

 

 

 

 

Death dances at Steppenwolf

 

Jeff Perry and Kathryn Erbe in “Dance of Death” at Steppenwolf

Somewhat Recommended

The highlight of Dance of Death at Steppenwolf is the outstanding set design of Collette Pollard, that dominates the stage.

Featuring an impressive, ancient, oppressive, dimly lit three story plaster and brick edifice, that apparently was a former jail, it is now the military home of a company commander and his wife located on an offshore island.

Set in Scandinavia sometime in the late 19th or early 20th Century, Alice (Kathryn Erbe) and Edgar (Jeff Perry) will soon be marking the 25TH anniversary of their mostly unhappy marriage. The structure serves as a physical representation of the couple’s own feelings of entrapment and isolation.

The two are alienated from their community, their extended family, their teenaged children (away at boarding school) and most importantly from each other.

Edgar is an aging soldier who only feels alive when there is conflict in his life, while Alice a former actress requires constant drama.

Their relationship was founded on mutual physical attraction that has generally faded with time and has never matured or progressed to one of mutual understanding and companionship, consequently the two alpha types battle to maintain their dominance over one another and retain the illusion of their own youthful personas.

The arrival of an old friend Kurt (Cliff Chamberlain) offers an opportunity for distraction as each try to engage him as an ally, but ultimately, they treat him more like a mouse that has wandered in and is unable to find his way out, becoming simultaneously an object of amusement, intrusion and torment.

Since I am unfamiliar with the original version by August Strindberg, I am not sure how this new version by Conor McPherson compares. I can’t exactly identify why the dialog seems uncomfortable but it seems like it has one foot on the platform and the other on the train. The cadence was odd and theatrical, never sounding truly authentic.

Ultimately this is a rather simplistic storyline that is a voyeuristic expose of a dysfunctional relationship. The imposing set and time period makes it feel like a classic opera without the satisfaction of some beautiful music or any soaring highs and lows. This never reaches the dramatic level of similar plays like Hedda Gabbler, Little Foxes, or Who’s Afraid of Virginia Woolf.

Veteran actor and Steppenwolf cofounder Jeff Perry is obviously at home on this stage. His physicality and slightly over-the-top performance belies his fifty-year association with the renowned theater company.

Erbe found her stride in the second act, however Chamberlain seemed to never fully strike the right tone for me. To some degree this was likely due to the challenge of playing a shy person while still maintaining a commanding stage presence. Also, his character is written in such a way that he is full of unresolved backstory that comes across as a fragment from another play.

Perry used the whole stage and made his character large. Erbe and Chamberlain often appeared to be unsure exactly where they should be, moving tentatively if at all.

The costume choices for the captain by Ana Kuzmanic, and the lighting of Lee Fiskness including the in-floor lights and outside ambient lighting were very effective.

It is assumed that movement consultant Claire Kaplan is at least in part responsible for the captain’s very entertaining solo dance performance.

A story of narcissistic marital conflict, it is not all doom and gloom. There is plenty of tension and vengeful plotting but also moments of dark humor and at least a momentary truce or two.

This had some good moments. The set design is awesome but the dialog seems stilted, it’s a bit long, and the play overall is just not as satisfying as I had hoped.

Details: Dance of Death at Steppenwolf, 1650 N. Halsted Street, Chicago, through March 22, 2026. Runtime about 2 and a half hours with one intermission. For tickets visit Steppenwolf.org or call (312)335-1650.

For more reviews visit Theatre in Chicago

Reno Lovison

Dance of Death Steppenwolf

The Dance of Death 16. Photo by Michael Brosilow

Jerry Perry and Kathryn Erbe in “Dance of Death” at Steppenwolf

Somewhat Recommended

The highlight of Dance of Death at Steppenwolf is the outstanding set design of Collette Pollard, that dominates the stage.

Featuring an impressive, ancient, oppressive, dimly lit three story plaster and brick edifice, that apparently was a former jail, it is now the military home of a company commander and his wife located on an offshore island.

Set in Scandinavia sometime in the late 19th or early 20th Century, Alice (Kathryn Erbe) and Edgar (Jerry Perry) will soon be marking the 25TH anniversary of their mostly unhappy marriage. The structure serves as a physical representation of the couple’s own feelings of entrapment and isolation.

The two are alienated from their community, their extended family, their teenaged children (away at boarding school) and most importantly from each other.

Edgar is an aging soldier who only feels alive when there is conflict in his life, while Alice a former actress requires constant drama.

Their relationship was founded on mutual physical attraction that has generally faded with time and has never matured or progressed to one of mutual understanding and companionship, consequently the two alpha types battle to maintain their dominance over one another and retain the illusion of their own youthful personas.

The arrival of an old friend Kurt (Cliff Chamberlain) offers an opportunity for distraction as each try to engage him as an ally, but ultimately, they treat him more like a mouse that has wandered in and is unable to find his way out, becoming simultaneously an object of amusement, intrusion and torment.

Since I am unfamiliar with the original version by August Strindberg, I am not sure how this new version by Conor McPherson compares. I can’t exactly identify why the dialog seems uncomfortable but it seems like it has one foot on the platform and the other on the train. The cadence was odd and theatrical, never sounding truly authentic.

Ultimately this is a rather simplistic storyline that is a voyeuristic expose of a dysfunctional relationship. The imposing set and time period makes it feel like a classic opera without the satisfaction of some beautiful music or any soaring highs and lows. This never reaches the dramatic level of similar plays like Hedda Gabbler, Little Foxes, or Who’s Afraid of Virginia Woolf.

Veteran actor and Steppenwolf cofounder Jeff Perry is obviously at home on this stage. His physicality and slightly over-the-top performance belies his fifty-year association with the renowned theater company.

Erbe found her stride in the second act, however Chamberlain seemed to never fully strike the right tone for me. To some degree this was likely due to the challenge of playing a shy person while still maintaining a commanding stage presence. Also, his character is written in such a way that he is full of unresolved backstory that comes across as a fragment from another play.

Perry used the whole stage and made his character large. Erbe and Chamberlain often appeared to be unsure exactly where they should be, moving tentatively if at all.

The costume choices for the captain by Ana Kuzmanic, and the lighting of Lee Fiskness including the in-floor lights and outside ambient lighting were very effective.

It is assumed that movement consultant Claire Kaplan is at least in part responsible for the captain’s very entertaining solo dance performance.

A story of narcissistic marital conflict, it is not all doom and gloom. There is plenty of tension and vengeful plotting but also moments of dark humor and at least a momentary truce or two.

This had some good moments. The set design is awesome but the dialog seems stilted, it’s a bit long, and the play overall is just not as satisfying as I had hoped.

Details: Dance of Death at Steppenwolf, 1650 N. Halsted Street, Chicago, through March 22, 2026. Run-time about 2 and a half hours with one intermission. For tickets visit Steppenwolf.org or call (312)335-1650.

For more reviews visit Theatre in Chicago

Reno Lovison