Putting a Price on Loss

Windfall

Recommended

When a widowed father is informed that his child has been killed during a protest, he’s forced to consider whether a cash settlement can possibly soothe his grief — causing us to witness how public institutions and

policies, in an attempt to remain impartial, reduce tragedy to a transaction that ignores emotional needs of individuals.

This somewhat mystical world premiere production by Tarell Alvin McCraney has Mr. Mano (Michael Potts) receiving advice from his dead son Marcus (Glenn Davis) who wants him to take the money and run.

In the meantime, Mr. Mano is under intense pressure from three government representatives — each played amusingly with varied personas by Alana Arenas  — to accept their settlement offer.

While processing all of this, the father reviews his relationship with his now lost child who has transitioned from adored daughter Elizabeth to young adult activist Eli (Esco Jouley). It apparently has caused some previous conflict between them which Mano has worked diligently to resolve and now must reconcile.

Directed by Awoye Timpo each member of this talented Steppenwolf ensemble put in strong performances led by Potts who sets the emotional tone and rhythm of the story that revolves around his struggle.

The playful banter of Davis as Marcus, and Arenas as the three bumbling bureaucrats combined with the youthful exuberance of Eli’s companions (John Michael Hill and Namir Smallwood) lighten the mood in what could devolve into a particularly oppressive topic.

Details: “Windfall” is at Steppenwolf, 1646 N. Halsted Street, Chicago, through May 31, 2026. Runtime is about 2 hours with a 10-minute intermission.  Visit Steppenwolf.org for tickets and information.

Review by Reno Lovison

For more shows and reviews visit Theatre in Chicago

How to interpret Ruthless

Ruthless 2.jpg

Catharina Araujo as Tina Denmark

Recommended

What if it’s the young actor and not the stage mother who is “ruthless?”

In Act I of Citadel Theatre’s “Ruthless,” we find a second grader who wants to be the lead in her class play so much she is willing to get rid of the classmate who has that part.

In the show on stage at Sunday’s performance that “ruthless” youngster as the wannabe star Tina Denmark is Catharina Araujo who alternates with Olivia Mulder in the role. Araujo is terrific and believable.

But wait.

We learn at the end of Act I from her grandmother, a theater reviewer, that her mom, Judy Denmark (Annie Beaubien) is the daughter of an acting family.

The show is full of surprises.

As the curtain closes on the first act we see a formerly low-key mom as someone who might have been in “Gypsy.”

Details: “Ruthless! The Musical” is at Citadel Theatre

in Lake Forest, IL. through May 17, 2026.

Jodie Jacobs

For more shows visit Theatre in Chicago

 

 

That’s All Right

 

Highly Recommended

Heartbreak Hotel

Everything from Tyler Hanes as the adult Elvis and Charles Adler Bischoff as Kid Elvis was very “All Right” opening night of Heartbreak Hotel at Marriott Theatre, Wednesday.

It didn’t matter if you were a longtime, silver-haired subscriber or twenty-something, first-time, theater goer. Age didn’t matter given audience reactions and applause to all the vocals from “Blue Suede Shoes” to “Can’t Help falling in Love.”

Directed and choreographed by Deidre Goodwin with musical arrangements and orchestrations by David Abbinanti, the entire production merited the long, standing ovation for the stars and ensemble.

The show is a reminder of why Elvis still lives in people’s hearts and memories.

BTW, his Graceland estate is worth a visit and it did have an airplane parked there as he mentioned he wanted.

Check out Graceland in Memphis if you have a chance. 

Jodie Jacobs

For more reviews visit Theatre in Chicago

 

 

 

 

 

 

Faith and love in The Sugar Wife

 

Highly Recommended

Repression, Power, and Renewal

A Quaker couple living in Dublin, Ireland circa 1850, invite a former enslaved African-American woman and her companion to spend ten weeks in their home while touring the British Isle promoting the abolitionist movement.  Their visit concludes on the spring equinox bringing a promise of rebirth and new beginnings.

The Sugar Wife is a story of devotion in all of its manifestations including faith, love, and charity — as well as devotion to work and artistic expression. The pivotal titular character is Hannah (Annie Hogan) whose husband Samuel Tewkley (Todd Wojcik) is a sugar and tea merchant.

On the surface the couple are devoted to their religion and to each other living a comparatively comfortable affluent life while maintaining a superficially austere façade consistent with Quaker ideals.

Hannah endeavors to offset their privilege through myriad good deeds and charity work represented here primarily though her visitations to Martha Ryan (Kristin Collins) a syphilitic sex worker who is literally on her deathbed.

Having visitors for nearly three months brings a level of intimacy that causes each person to reveal much of their inner character, exposing painful desires, repressed passions and secret motivations.

Sarah Worth (Ashayla Calvin) the formerly enslaved woman is accompanied by Alfred Darby (John LaFlamboy) a privileged white man who bought her freedom. Darby an amateur photographer, engaged in the nascent art form, acts as her manager, arranging her speaking opportunities, though it is apparent their relationship is more complicated than it appears on the surface.

Integrity is the alignment between what you believe, what you say, and what you do and is a key element with each character. Keeping this balance is a constant human struggle. Many people make bargains with themselves to justify actions that are in conflict with their ideals, some repent and other simply surrender to their baser instincts.

Weaving throughout the story is a theme of sexual power represented by a slave, a prostitute, and a woman in an unhappy marriage. But this theme is not simply one of domination but rather one of symbiosis as the players leverage their power to maintain their own survival and meet their own objectives.

In the end, with the coming of spring, the question becomes whether they can each emerge from their cold dark wintry past and find a new way forward.

The U.S. Premiere of The Sugar Wife written by Elizabeth Kuti and presented by Artistic Home is expertly directed by Kevin Hagan in the round providing a particularly intimate experience.

The exceptional cast is headed tenderly by Annie Hogan. In spite of his character’s personal failings Todd Wojcik portrays Samuel with a sympathetic and oddly endearing quality that adds pathos to his inner conflicts.

I wish Ashayla Calvin as Sarah Worth had been given more to do. Her understandable detachment from the others makes her feel present mainly to motivate them – – though her oratory vignettes were powerfully delivered giving her notable talent a few welcome opportunities to shine.

John LaFlamboy portrayed Sarah’s companion Alfred Darby with an undercurrent of danger that keeps you wondering about him while Kristin Collins as the bedridden Martha injected a bit of dark comic relief delivering a defiant air that suggested she was not giving up the ghost easily.

This is a provocative and intellectually engaging examination of integrity and interpersonal relationships within the context of rigid social constraints and gender expectations of the 19th century.

Details: The Sugar Wife is at Theater Wit, 1229 W Belmont, Chicago IL through May 3, 2026. Runtime is about 2 ½ hours with one intermission. For information visit theaterwit.org or call 773-975-8150.

Review by Reno Lovison

For more reviews visit Theatre in Chicago

 

August Wilson back at Goodman

 

Review: MA RAINEY’S BLACK BOTTOM at Goodman Theatre Image

Highly Recommended

Disappointment leads to despair

Picture four blues musicians sitting in a recording studio’s rehearsal hall examining their lives while waiting for the prima donna to perform. But be patient. The show is the very interesting, highly recommended Ma Rainey’s Black Bottom by August Wilson now on stage at The Goodman.

Ma Rainey, perfectly interpreted by E. Faye Butler, is the leading artist of a struggling Chicago based blues label owned by brothers Irvin (Marc Grapey) and Sturdyvent (Matt Decaro). The band consists of pianist, Toledo (Kelvin Roston); bassist, ‘Slow Drag’ (Cedric Young); trombone/guitar player, Cutler (David Alan Anderson); and horn player Levee (Al’ Jaleel McGhee).

Ma’s personal entourage also consists of her nephew,  a stuttering singer named Sylvester (Jabari Kaliq) and her young lover, Dussie Mae (Tiffany Renee Johnson).

Set circa 1927 at the height of the Great Migration, this tragic drama is rooted in personal trauma, systemic racism and economic exploitation. In true blues tradition each man reveals his inner self through storytelling. In the process there is a good amount of convivial, often dark, humor born of a recognition of shared experience with an undercurrent of shared pain.

The ambitious Levee is the pivotal character, representing a youthful progressiveness at odds with Ma’s traditional approach and controlling nature. He is also a subject of amusement for his more seasoned and philosophical bandmates who simply want to get on with their work at this point in their career.

Ultimately, Levee is overcome by personal trauma and disappointment. His recent acquisition of a new pair of stylish shoes becomes a symbolic component in the actions about to take place. They are the physical manifestation of his upward mobility, his hunger for attention and represent the persona of affluence and success he wants to convey to the world around him.

Written in 1984 this is clearly reminiscent of many great literary tragedies. Wilson understood that he was crafting an African American story rooted in Black experience, yet one that would be witnessed by white audiences as well.

His mastery of African American vernacular, speaks directly to Black audiences with familiarity and affirmation, while offering white audiences a window into a cultural world they may not know. In doing so, Black audiences find recognition and validation while white audiences gain insight.

Expertly directed by Chuck Smith with music direction by Harry Lennix, this is apparently a labor of love that manages the production with an honesty and care while paying tribute to the sensitivity of Wilson’s material.

The multi-level set design by Linda Buchanan emphasizes the dominance of Irvin and Sturdyvant as they observe the performers from their elevated vantage point in the control room. From there they bark commands, provide food and dole out the pay.

Faye Butler plays Ma with requisite bombast and over-the-top energy that makes her larger-than-life character unmistakably in command of her domain while belting the blues with an authority that proves she has the chops to back-up her formidable presence.

McGhee as Levee does a great job of methodically peeling away each layer of the onion slowly revealing his inner torment. Fellow musicians Young, Roston and Anderson display a measured maturity in their easy banter that makes me feel like I’m eavesdropping in a neighborhood barber shop with echoes of tales that are reminiscent of ancient fireside rituals.

Details: Ma Rainey’s Black Bottom by August Wilson is at The Goodman, 170 N. Dearborn, Chicago through May 3, 2026. Runtime about 2 and a half hours with one intermission.  For tickets go to GoodmanTheatre.org/MaRaineys visit the Box Office or call 312.443.3800.

Review by Reno Lovison

For more reviews visit Theatre in Chicago

The Ally looks at what if

 

Recommended

Can you hold two ideas at once?

The Ally at Theater Wit proves “no good deed goes unpunished,” when a sympathetic person decides to support a local cause by simply signing a petition.

Asaf Sternheim (Jordan Lane Shappell) is a writer who recently moved from New York to a small college town where wife Gwen Kim (K Chinthana Sotakoun) recently got a job as a community liaison working on the expansion of the school’s property.

The relationship between the school and the community has been strained because the expansion is creeping into the adjacent low-income community. Tensions are compounded by the fact that a young African-American man has been killed by the police over his alleged participation in a series of car thefts.

Sternheim is an adjunct writing teacher at the college. The victim’s cousin Baron Prince (DeVaughn Asante Loman) is one of his students, who asks him to sign a petition denouncing police brutality.

The petition is attached to a manifesto that was written by activist Nakia Clark (Sharyon Culberson) who is the former girlfriend of Sternheim from his undergraduate years.

The document includes language that denounces the state of Israel, equating the oppression of Blacks in America to the treatment of Palestinians in Gaza, including the words apartheid and genocide which Sternheim who is Jewish, with familial ties to Israel, finds excessive and offensive. As he considers his position he decides to sign anyway setting off a cascade of events that affect him directly.

Immediately Sternheim is approached by two students Rachel Klein (Mira Kessler) and Farid El Masry (Arman Ghaeini). The two ask him to be the faculty sponsor for their new organization aimed at uniting Jewish and Palestinian students. Feeling it is best to encourage dialogue he agrees. Soon after, he is confronted by Reuven Fisher (Evan Ozer) the leader of a Jewish student organization opposed to this alliance urging him to withdraw his support.

Unlike his characters, who are all firmly wed to their positions, playwright Itmar Moses does a truly admirable job presenting each person’s point-of-view giving everyone a voice with clear, salient arguments.

The material risks becoming oppressive, but Moses lightens it from time to time with humor drawn largely from Sternheim’s predicament — a situation with no apparent graceful exit.

It’s human nature to seek resolution to conflict but Moses shows us that this is not always possible. Some situations have no clear beginning and no clear end; they’re simply part of a continuum of life with all of its power struggles. Along the way things get better and things get worse. Many people are hurt. Some believe they have the answers while others simply find themselves in the middle of a confusing morass. This of course does not mean we should give up trying to make improvements. Moses manages to lay out the components in a remarkably well-organized fashion, then leaves it to us to sort it out.

Under the steady directorial hand of Jeremy Wechsler, each individual performance is outstanding, presenting complicated dialogue with passion and conviction.

The production runs a bit long. The final scene does not seem as well-conceived as the rest of the play. Moses gives us an expansive cross-section of opposing forces teacher, student, black, white, Asian, Jewish, Palestinian, liberal, conservative, male, female, wife, husband and Ex. The amount of information can be overwhelming, so finding a way to tighten it up would be an improvement.

The evocative set design of Joe Schermoly represents a library with an impressive array of books serving as an academic background but also mocking us with the idea that we have so much knowledge – – yet what have we learned?

If you’re interested in the events of the day and have the capacity to take in a lot of information while considering opposing ideas you will find this a thought-provoking presentation in an entertaining package.

The Ally is at Theater Wit, 1229 W Belmont, Chicago IL 60657. Runtime is about 2 ½ hours with one intermission. For information visit theaterwit.org or call 773-975-8150.

Review by Reno Lovison

For more reviews visit Theatre in Chicago

On the horizon

 

(See below) William Shakespeare (comp from Chandos post)

Info and shows

Eggs 

There used to be scores of egg hunts sponsored by organizations, schools and neighborhoods. So it was nice to hear of one sponsored by the Prairie District Neighborhood Alliance. The group hosts its 19th Annual Easter Egg Hunt at Chicago’s Women’s Park and Gardens April 4, 2026, from noon to 2 p.m. The Easter Egg hunt will begin at 12:15 p.m.

What to know: The egg hunt is for ages 12 and younger with hunt areas divided by age. Also, participants are to bring their own basket and be accompanied by an adult.

And more

Partners of the event include the Chicago White sox and Chicago Rec Sports which will donate hundreds of toys. The White Sox organization will give away 500 free game tickets. 

Activities: Easter Bunny visit, petting zoo, face painters, balloon artists, sports games and hundreds of prizes. Noshes: Easter cupcakes, cookies and other refreshments. 

The Chicago Women’s Park and Gardens is at 1801 S. Indiana Avenue,  Chicago.  Admission is $18 for children 1-12 and $10 for age 13 years to adults. No charge for children under one year old. Tickets are required.   For more information or to purchase tickets, visit the event website:  http://southloopeasteregghunt.com/ or call (312) 401-2688.

 

Shakespeare and more

Shakespeare’s Birthday is celebrated by of course – The Chicago Shakespeare Theater in CST’s three venues:  Jentes Family Courtyard Theater, The Yard, and the Carl and Marilynn Thoma Upstairs Studio with productions running simultaneously for only the second time in the Theater’s history.

The Merry Wives of Windsor, the world premiere play Fault, and Indian Ink Theatre’s Mrs. Krishnan’s Party will jointly run April 18–26 with a celebration of Shakespeare’s 462nd birthday on April 23. 

“These three productions express … what an American Shakespeare company could be: entertaining and engaging tellings of Shakespeare’s stories alongside exciting contemporary work, mixed in with some of the best theatrical events from around the world,” said Artistic Director Edward Hall.

Jodie Jacobs

For more theater info visit Theatre in Chicago

Off Nights

Off‑Nights is a Queer Operatic Extravaganza

 

This campy, opera style, cabaret performance mostly in drag is oddly compelling.

The unconventional storyline comprised of seven sexually ambiguous individuals has the show living up to its tagline of a queer extravaganza.

Thompson Street Opera Company is worth keeping an eye on. Their recent premiere production of Off-Nights at the Sometimes Café at Bramble Arts Loft in Andersonville was a short run just one weekend but worth mentioning for the record.

As the title implies the action is set in the off-nights (or weekdays) of a popular drag club where the second-string performers get a chance to strut their stuff while staff and patrons declare their love or at least attraction for each other.

This dramatic cantata is expertly narrated by The Pianist (Kingsley Day) an amused and mostly detached observer who does double duty as accompanist to the singers.

Admittedly the elder of the crew, Day dressed androgynously in black sequined pants and ruffled blouse while sporting a short blond wig of dubious quality, is not only a very capable musician but simultaneously sets each scene in a dryly humorous tone. Day is the guiding presence – – the glue that keeps each lash in place.

What makes this theatrical company worth note are the exceptional voices beginning with soprano Katherine Petersen as Sarah Spangle who provides the sweet opening number “Sometimes” in which she expresses her love for tenor bartender Bob (Brian Pember) while adding the word “sometimes” to the end of each line of devotion.

Soprano Jade Dasha provides an air of powerful mystery and true anguish, taking the mezzo voice as the clairvoyant Madame Nappu.

Baritone Alexander Quakenbush as Drew offers a comic element as the young man who peaks the romantic interest of nearly everyone. As a budding composer he is responsible for such lyrics as “since the dinosaurs were drinking beers” to indicate the length of time he has been in love.

The score by Dave Walther harkens back to an earlier time, reminiscent of some 1920’s or 30’s musicals that were trying to be contemporary while still staying within a more formal musical structure. For a common reference think maybe Jeanette McDonald and Nelson Eddy. This of course is what gives the “opera” a campy tone while providing the performers with interesting bel canto vocal opportunities.

This brings up the term opera as well as ballet, recently maligned by the young cinema celebrity Timothee Chalamet who declared “no one cares” anymore about either art form.

Though the statement is harsh I do believe that both terms have the tendency to scare much of the theater going public who might believe the language will be foreign and the music overly complex or beyond their comprehension. Well, there is no fear of that here. In fact, though not really necessary, this production utilized projected lyrics onto the black background, I believe more as a further tongue-in-cheek nod to traditional operas.

This being said not long ago the Northshore “Light Opera Works” changed its name to “Music Theatre Works” I imagine at least in part to overcome this stigma.

As for ballet this production offers the audience a few dance numbers designed by Jordan Ricks performed by drag king Mx. O’Lydian and drag queen Delta Badhand.

Though severely mismatched in height, Delta at more than six feet in heels, towers over her partner by 24 inches or more. But the duo performs with unabashed sincerity – – with Delta presenting an endearing earnest vulnerability.

Off-Nights at the Sometimes Café may not be everyone’s cup-of-tea or latte for that matter but I found it amusing, with a charm of its own.

Though the musical composition was a bit chaotic and maybe atonal, the superb singers and their piano accompanist met each challenge with conviction including the nearly cacophonous contrapuntal finale providing the production with a truly culminating climax.

Since this show which was onstage at the Bramble Art Loft at 5545 N Clark Street, Chicago through March 22, 2026 will be over by the time you read this I will simply suggest that you visit thompsonstreetopera.org to learn more about upcoming productions.

*As a footnote I will add that it was announced that this company has lost some of its funding from the National Endowment for the Arts (NEA) due to the federal cutbacks made by the current administration. This arts organization as well as many others need your support more than ever.

Reviewer Reno Lovison

Oscar surprises and usual winners

 

Oscars waiting to be handed out
Oscars waiting to be handed out

 

Yesterday’s 98th Academy Awards show was a mix of expectations and added showcase recognitions. But the vibe was like amateur night at the local college where nothing was rehearsed (and which I didn’t mind). 

“One Battle After Another” claimed the night’s top honor, winning the Oscar for Best Picture, while the film’s director, Paul Thomas Anderson, earned the award for Best Director.

Jessie Buckley received the Best Actress Oscar for “Hamnet” and Michael B. Jordan took Best Actor for “Sinners” which also took several awards as expected.

Sean Penn won Best Supporting Role for “One Battle after Another” but the surprise was for the Supporting Role Oscar which went to Amy Madigan in “Weapons.”

What I liked was that some of the production awards usually announced before Oscar night were also spotlighted and a new award, Casting, was added to the Ceremony. It went to “One Battle After Another.”

See the complete list of winners that includes nominees  here.

 Jodie Jacobs

 

St Patrick Day

Chicago River turns green. (Photo courtesy City of Chicago)
Chicago River turns green. (Photo courtesy City of Chicago)

Don something green.

Folks wear something green on March 17 if they celebrate the actual St Partick’s Day this year. But who is he?

Born to a Christian family in Britain, he was Maewyn Succat who was captured by raiders when 16. He was taken to Ireland as a slave where he worked as a shepherd.

After escaping and returning to Britain he later returned to Ireland as a missionary and was ordained as a priest and then became a venerated bishop. He wasn’t formally canonized but legends grew around him and his deeds. Date of death varies but it is generally agreed he died March 17, 461 AD. He wasn’t formally canonized but legends grew around him and his deeds. Date of death varies but it is generally agreed he died March 17, 461 AD.

 

Events

In Ireland people celebrate his day with religious services and feasts. But in Chicago this patron saint of Ireland is really celebrated each year on the previous Saturday and Sunday by dying the Chicago River green, watching the downtown parade, celebrating at the Irish Cultural Center and, of course, going to a favorite pub to drink to St. Patrick.
Downtown Parade Saturday, March 14
The big annual event starts at 12:15 p.m. at Columbus Drive and marches from Balbo to Monroe.
The Southside Irish Parade Sunday, March 15
The parade steps off at noon from 103rd and Western Avenue in the Beverly/Morgan Park neighborhood. Basically, a family-friendly event, the parade began in 1979 with a few neighborhood people but has grown to become the largest St. Patrick’s Day community-based parade in the country.
Goes through the Norwood Park neighborhood beginning at William J. Onahan School.
Irish American Heritage Center (near Albany Park), March 14-15
Celebrate the Irish way with food, drink and events both days. More info at IAHC/events
Sláinte
Jodie Jacobs