American Blues Theater – Chicago Theater and Arts

Reclamation of Invisible Lives

Manny Buckley and Jon Hudson Odom in "The Reclamation of Madison Hemings" by American Blues Theater. (Michael Brosilow)

(L to R) Manny Buckley and Jon Hudson Odom in “The Reclamation of Madison Hemings” at American Blues Theater. (Photo by Michael Brosilow)

4 Stars

Can you free yourself from the past, particularly if your past was filled with unhappiness? Can you find the good times you remembered? Can you shake loose the pain or reclaim your legacy? These are some of the themes explored by playwright Charles Smith in “The Reclamation of Madison Hemings” on stage at the American Blues Theater.

Shortly after the end of the Civil War two former slaves ruminate on their experiences living and working within Monticello, the estate of former President Thomas Jefferson.

Arriving at Monticello as a boy, Israel Gillette Jefferson (Manny Buckley) was originally assigned to making nails in the nailery with his brother, Moses. Eventually he was moved into the house as a fetcher, rising to the position of footman at the time of Jefferson’s death.

Madison Hemings (Jon Hudson Odom), together with his siblings, lived a life of comparative privilege by slavery standards. They were the product of the union between the former President of the United States and his slave, Sally Hemings.

Brothers Israel and Moses were auctioned off after the death of Jefferson and had vowed to meet at Montecillo on the anniversary of their purchase date if ever they were freed. Madison was freed as part of a stipulation in Jefferson’s will. After emancipation they found themselves as neighbors settled in Pike County, Ohio.

Madison has now agreed to accompany Israel to reclaim a bit of their past. In doing so they are reunited in spirit with family and friends who lived and died alongside them in bondage and provided what little love and support they were able to find in a cruel and oppressive system.

Centered around a campfire, the banter between the two is reminiscent of Samuel Beckett’s “Waiting for Godot” as the two men, seemingly suspended in time, conjecture and bicker about whether Moses has come and gone, whether he is delayed or whether he will come at all.

The playwright’s dialog in this well produced production gives voice to a traditionally unheard side of American History. It is peppered with humor that establishes an obvious underlying bond between the two men who do not always share the same point-of-view regarding the effects of the war, their new station in life, their view of the man who controlled them, nor how much longer they should linger.

Credit to director Chuck Smith who no doubt contributed to the natural cadence and rhythm that comes to life from the mouths of Odom and Buckley. Their conversations enlighten us as to the peculiar realities of the Monticello household, including the obvious hypocrisy of the person who penned “All men are created equal” into the Constitution of the United States. This is all done without preaching or lecturing.

There is the matter of a reference to a blind white mule often heard braying offstage. I am going to go out on a limb and suggest that this device represents echoes of slavery. Though out-of-sight, starving and debilitated it is not easily silenced and not yet dead.

In regard to stagecraft the scenic design and props by Jonathan Berg-Einhorn were suitably evocative, with the presence of a large buckboard wagon offering an imposing sense of time and place.

The costumes of Lily Wallis demonstrated an appreciative attention to detail down to the bow-tied gatherings of Israel’s long-johns. I did however find the lighting by Jared Gooding and Rachel West to be flat. With the exception of an impending storm it did not add much to the atmospherics or mood.

This was my first visit to the new home of the well-respected award-winning American Blues Theater one block north of Bryn Mawr on Lincoln Avenue.

It was refreshing to see that the theater’s board, under the leadership of Executive Artistic Director Gwendolyn Whiteside, elected to add a bit of style to the design rather than go with a simply barebones “get away as cheap as we can” approach. The seats are comfortable and relatively spacious in terms of leg room.

The proscenium stage proportionally seems unusually wide compared to its depth especially as the theater seating area is also more wide than deep. Though not technically a thrust the generous apron provides a gentle curve that adds an even greater sense of intimacy for the 137-seat audience.

The spacious contemporary look of the lobby and theater, sporting wood paneling with metal detailing, belies the building’s humble history as a former Walgreen’s and most recently a Dollar General. I live only about three blocks away and am happy to have ABT as a new neighbor.

DETAILS: “The Reclamation of Madison Hemings” is at American Blues Theater, 5627 N. Lincoln Ave., Chicago, through March 24, 2024. Running time is a little more than 90 minutes with a short intermission. For tickets and information visit www.americanbluestheater.com or call (773) 654-3103.

Reno Lovison

For more shows visit Theatre in Chicago

Around Town: Three shows to consider seeing now

Peter Pan: A Musical Adventure at Chicago Shakespeare Theater. (Photo by Liz Lauren)

Not a Christmas show

“Peter Pan: A Musical Adventure” taped live at Chicago Shakespeare Theater two years ago, is now streaming live free of charge (donations appreciated) through Jan. 1, 2021. It is a newly re-mastered recording of the company’s 2018 production.

Directed and choreographed by Amber Mak, it delightfully proves that not everything watched this time of year has to have a Christmas or Hanukkah theme. Really good for youngsters ages 8-10, its music, story, aerial choreography and 80-minute run-time, makes it entertaining for all ages. For more information visit Chicago Shakespeare Theater

An extended Christmas show

“Manual Cinema’s Christmas Carol,” Dicken’s moralistic holiday story but with an updated twist, has been extended through Dec. 31, 2020. Originally seen live at specific ticketed times through Dec. 20, the production is now streaming 24/7 through Marquee TV. Tickets are $15.

For Chicago Theater and Arts’ review see A broader Christmas Carol message. For tickets and more information visit Marquee.tv/videos

An annual Chicago live Christmas radio show

American Blues Theater has been doing a live retelling of “It’s a wonderful Live: Live from Chicago,” for more than 19 years. Patterned after the Frank Capra classic as a 1940s radio broadcast with terrific sound effects, the show is continuing through Jan. 2, 2021. For more information visit AmericanBluesTheater/Wonderful Life.

Jodie Jacobs

Around Town: Three fun activities

Tiffany dome at Chicago Cultural Center (J Jacobs photo)

Now that November is here, normally, (and what is normal anymore?) calendars are full of fall and early winter events. In the Chicago area that means many holiday activities and shows are usually available in person. Some of them are still taking place with timed tickets such as the Botanic Garden’s Lightscape and the Museum of Science and Industry’s Holiday Trees. More on those events next time. But other events will be presented differently this year. Here are a few suggestions.

Cloud Gate in Millennium Park (J Jacobs photo)

Chicago Cultural Center and Millennium Park

Take a free tour of the Chicago Cultural Center or the art in Millennium Park.

The tours are offered virtually on demand by volunteers through the Department of Cultural Affairs and Special Events. Among stops at the 1897 Cultural Center is the Tiffany dome.

The Millennium Park tour includes work by Anish Kapoor and Kerry James Marshal. For more information and to sign up visit DCASEvolutuntours.

Art on theMART starts new projects. (Photo courtesy of theMART)

Drive or walk by theMART,

Art on theMart starts again Nov. 12. Among the scenes will be the Joffrey ballet’s images from “the Nutcracker,” and pictures from the Art Institujte of chicago’s M\”Monet and Chicago, “Bisa Butler’s Portraits and “
Arts of Life.

The images will on nightly at 7 and 7:30 through Dec. 30o. For more information visit artonthemart.com.

It's a wonderful Life Live (American Blues Theater photo — It’s a wonderful Life Live (American Blues Theater photo

“It’s a Wonderful Life: Live in Chicago”

The American Blues Theater is bringing back its annual production. The classic show runs 80 minutes andcan be viewed virtually. However, it is live so there are specific times, dates and tickets.

“At American Blues, we miss so much of the experience of live theater, including its energy, social nature and ephemeral quality.,” said Artistic Director Gwendolyn Whiteside

“This season, we will bring “It’s a Wonderful Life: Live in Chicago” entirely live for every scheduled performance. We will also be interactive, bringing our popular audiograms to audience members during every performance.,” said. Whiteside. She added,” This year has been filled with so much uncertainty, but the one thing audiences can count on is the holiday tradition of “It’s a Wonderful Life.”

Based on Frank Capra’s film, it can be seen online Nov. 12 2020 through Jan. 2, 2021. For tickets and more information visit American Blues Theater.

Jodie Jacobs

An angel gets his wings

‘It’s a Wonderful Life: Live in Chicago!’

4 stars

What’s undoubtedly the most popular, best-loved holiday movie of all time? Well, here’s a hint: The name George Bailey has become synonymous with Christmas since Frank Capra’s holiday classic first began airing on television during the 1980’s.

Based upon “The Greatest Gift,” a short story privately published in 1945 by Philip Van Doren Stern, this captivating tale of a man who sacrifices all of his own dreams to help his family and friends has now become a timeless classic.

Most audiences will be familiar with the 1946 b&w film which is just about as perfect as anyone can expect. But American Blue Theater’s version takes this classic one step further, especially in this polished, eighteenth anniversary remounting.

When audiences walk into the Stage 773 theatre they’ll step back in time to the Golden Era of Radio. Cast members greet theatergoers with refreshments and ask if you’d care to fill out an audiogram that’ll be read during one of several commercial breaks during the broadcast. These may include birthday greetings, anniversary wishes or other personal messages of love and encouragement.

Before the actual radio play begins, the audience is introduced to the talented eight-member ensemble who play all the roles including supplying the real-life musical commercials, and even provide all the sound effects and incidental music.

Following a short Christmas carol sing-along, the radio play begins. The story has become so familiar that a synopsis isn’t necessary, but if it’s a new Christmas chronicle for theatergoers, then this unique theatrical performance will offer a terrific introduction.

The company also salutes a member of the armed forces in the audience at each performance. The entire evening is, quite simply, just plain heartwarming. Suffice it to say that despite the story’s familiarity, most of the audience was choking back tears by the end.

Artistic Director Gwendolyn Whiteside has expertly guided this eighteenth annual revival of Capra’s beautifully-written piece. She paces her production at such a brisk tempo that audiences barely notice the lack of an intermission in the 90-minute production.

Brandon Dahlquist and John Mohrlein. (Photo by Michael Brosilow.

Each of the eight talented ensemble members perform a range of roles with such vocal versatility that, if you close your eyes, you’ll imagine a far larger cast.

This radio adaptation is both faithful to the Capra classic and yet economical, providing every major plot point and subtle nuance from the movie. The show’s performed with energy, humor and pathos.

Brandon Dahlquist captures all the warmth and humor of George Bailey without being an impersonation of Jimmy Stewart. In addition to guiding this production, artistic director Gwendolyn Whiteside beautifully plays Mary Bailey, practically a dead ringer for the film’s leading lady, Donna Reed. Whiteside also plays several other characters including George Bailey’s loving mother.

The incomparable John Mohrlein offers unbelievable versatility playing, among several roles, both ornery Mr Potter and Clarence, George’s guardian angel. As profit-hungry Potter, he subtly brings to mind America’s current Commander-in-Chief.

Another versatile voice actor is the talented Ian Paul Custer as George’s brother Harry plus a variety of other characters. The charismatic and mega-talented Michael Mahler is not only the show’s emcee and musical director, but he provides the smooth, live piano soundtrack for the radio play, composed by Austin Cook.

Mahler also wrote the clever commercial jingles which he sings with glee, assisted by his wife, the lovely, talented actress/singer, Dara Cameron. She also plays Zuzu, Violet and several other roles in the play

Rounding out this adaptable cast are eloquent James Joseph portraying, among others, Uncle Billy, and Shawn J. Goudie, as an accomplished Foley artist, who provides all of the sound effects for the story.

A nostalgic ambiance envelopes the intimate venue at Stage 773, thanks in part, to Grant Sabin’s rich, gold, red and green velvet holiday setting festooned with colorful wreaths and Christmas trees courtesy of Elyse Dolan’s set dressing and properties design.

The stage is beautifully bathed in mood lighting designed by Katy Peterson and Christopher J. Neville’s authentic-looking 1940’s costumes provide the actors with just the right look.

But much of the warm tenderness of this production must be attributed to the sincerity and commitment of American Blues Theater’s outstanding company of actors.

Thanks to this remarkable ensemble cast, all the residents of Bedford Falls fully emerge in our imagination. Watching this story of one man who admirably sacrifices all of his own ambitions in order to help others is truly inspiring, especially today. Theatergoers may tear up as they witness an angel finally getting his wings.

Frank Capra’s Christmas classic hasn’t looked or sounded this glorious since it first appeared in movie theaters back in 1946. But American Blues Theater’s annual production of “It’s a Wonderful Life: Live in Chicago!” would’ve definitely made Capra proud.

DETAILS: “It’s a Wonderful Life: Live in Chicago!” is an American Blues theater production at Stage 773, 1225 W. Belmont Ave., Chicgo, through Jan. 4, 2020. Running time: 90 minutes. For tickets and other information call (773) 654-3103 or by visit AmericanBluesTheater.

Colin Douglas

Additional information about this and other area productions can be found by visiting theatreinchicago.

Members of an Exclusive Club

‘Five Presidents’

3 stars

Rick Cleveland’s fictionalized docudrama, which is generously laced with comic zingers and one-liners that lighten the subject, imagines a 90-minute get-together between past presidents Gerald Ford, Jimmy Carter, George H.W. Bush, Ronald Reagan, and the current “Leader of the Free World”, Bill Clinton.

The year is 1994 and the setting is a gathering room in the Nixon Library in Yorba Linda, CA, tastefully designed by Grant Sabin and nicely lit by Alexander Ridgers.

The occasion for this meeting is the funeral of President Richard Nixon. Even though these five men would’ve greeted each other on this occasion, it’s unlikely that they spent an hour and a half talking together about so many different topics.

For most of the play, the five living members of this exclusive club banter about each other’s faults and failings and recite the various foreign and domestic policies that each President passed while in office.

The one plot point that runs throughout the play is that President Ford has decided he no longer wants to deliver his portion of Nixon’s eulogy but the other four try to convince him otherwise.

President Regan keeps offering to come to the rescue by volunteering to speak extemporaneously. However, the other men are aware that Reagan is in the onset of Alzheimer’s and understand how disastrous his eulogy might be.

Continue reading “Members of an Exclusive Club”

‘The Spitfire Grill’ shines

The Spitfire Grill at American Blues Theater. (Photos by Michael Brosilow)

4 stars

American Blues Theater’s latest offering doesn’t just touch your heart; it enfolds your soul in warmth and caresses you with its humanity. Like the song that one character sings, this production “Shines.”

It’s impossible to experience this folksy musical without shedding a tear or feeling a lump in your throat. At its core, this little musical is a celebration of the simple things in life.

With music by James Valcq, lyrics by Fred Alley and a book co-adapted by both artists from the film of the same name, this is a warm, heartfelt story of redemption and hope. It’s a show we could all use right now because it’s so positive.

The composers eschewed a big, brassy score to instead create a gentle mixture of folk, country, pop and bluegrass spiced with just a touch of Celtic influence

Musical director Malcolm Ruhl brings the lovely score to life on accordion, with Ian Paul Custer on piano, Greg Hirte on violin, Scott Sedlacek on guitar/mandolin and Magdalena Sustere on cello. Although told primarily through its music, the simple tale rejoices in its quieter, more reflective moments.

Director Tammy Mader really understands this musical and demonstrates, once again, why she’s become one of Chicago’s preeminent directors. Staged with sincerity and artistry, Mader takes us on an emotional journey that audiences aren’t likely to forget. She creates some gorgeous stage pictures, allowing movement to flow organically.

Like the season during which the play begins, the attitudes of this small town are initially cold and guarded. But, like Spring, the weather and people in Gilead soon begin to warm up. Color, light and love gradually fill the stage.

In this intimate Stage 773 venue, actors are never very far from the audience. The line between theatergoer and actor seems to disappear as patrons become comfortable and feel like almost a part of the story.

This is thanks, in part, to Sarah E. Ross’ rustic scenic design within a forest setting. Jared Gooding’s mood-altering lighting design conveys the earthiness along with the changing Wisconsin seasons. Costumer Lily Grace Walls has designed a realistic wardrobe for the characters, at first in earth tones of brown beige, and eventually bursting with color and patterns like the town itself.

The cast is exceptional. Each actor brings personality and honesty to his or her character. Their powerful voices are filled with pain, healing and, ultimately, blissful happiness.

The always splendid Jacquelyne Jones carries the show playing tough, ex-con Percy Talbott. As her own tragic story begins to blend with the suspicious, gossiping folks around her, Percy’s protective walls start to crumble and secrets are revealed.

The magnificently talented Catherine Smitko is doing some of her finest work in this production. She’s feisty, but real, grounded and humane as Hannah, the bitter, yet motherly owner of the Spitfire Grill.

And lovely Dara Cameron is shy, touchingly withdrawn and emotionally battered as Shelby. Her performance is at once heartbreaking and hopeful. Shelby provides the gentle friendship to Percy that helps the young woman to soften and trust again.

Together, these three talented actresses are transcendent and provide the heart and soul of this production.

All three actresses display excellent, expressive, professionally-trained voices. Jacquelyne Jones’ “A Ring Around the Moon,” which opens the play, is stunning. Dara Cameron’s exquisite “When Hope Goes” tells how the town and its residents have changed over the years. The two women share their hopes and dreams in the wonderful “The Colors of Paradise.” In “Forgotten Lullaby,” Catherine Smitko’s Hannah discovers the deep-rooted feelings and haunting memories that she’s buried for years.

Completing the cast are handsome Donterrio Johnson as Joe, the town sheriff and Percy’s parole officer. He beautifully sings of his own wishes for the future in “This Wide Woods.”

Karl Hamilton plays Caleb, Shelby’s abusive husband, a bitter man who lives in the shadow of an MIA war hero. His melancholy can also be attributed to losing his job after the local quarry closed (“Digging Stone”). Ian Paul Custer is gentle and touching as the mysterious Stranger, a role guaranteed to bring a tear to the eye. And Gabrielle Lott-Rogers is very funny as Effy, the town’s nosy, outspoken postmistress and effusive gossip-monger.

Mader’s production is simply wonderful. It’s pitch perfect in every way, from her magnificently talented cast, to her creative team who help bring the show to life. She presents a heartfelt story with characters and music as cozy and welcoming as comfort food, the perfect anecdote to all the negativity that surrounds us today.

This is really a must-see production, a tale told by a gifted theatre company that absolutely “Shines.”

DETAILS: “The Spitfire Grill” is at American Blues Theater at Stage 773, 1225 W. Belmont Ave., Chicago through August 17. Running time: 2 hours, 10 minutes. For tickets and other information call (773) 654-3103 or visit American Blues Theater.

Colin Douglas

For more shows visit TheatreInChicago.

Thriller on Clover Road

Philip Earl Johnson explains to Gwendolyn Whiteside how the deprogramming is going to work. (Photo by Michael Brosilow)

3.5 stars

“On Clover Road” keeps you on the edge of your seat.

It’s not often that a play comes around that creates such drama and suspense, your heart races and you might have to look away. Such is the case with the live performance of “On Clover Road,” playing at American Blues Theater through March 16, 2019.

The title itself implies a bit of luck that finding a four-leaf clover might bring. In a sense, the play is about luck too, both good and bad, and how it impacts the characters.

Written by Steven Dietz and directed by Halena Kays, “On Clover Road” tells the story of an angry, frustrated mother who meets with a cult de-programmer believing she will be reunited with her runaway daughter. Her daughter has been gone for more than four years and the mother has all but given up hope. Continue reading “Thriller on Clover Road”

Top 10 shows of the year

Chicago area theaters put on so many excellent productions that picking our top 10 shows is not merely challenging, it also reflects individual points of view, entertainment preferences and theater and music backgrounds. Readers are welcome to disagree and comment with their own suggestions.

This year, we also are including Broadway in Chicago and Lyric Opera contenders because Chicago audiences attend those productions and support those organizations with subscriptions.

A bit about our reviewers: Reno Lovison, Pam McKuen, Francine Friedman, Mira Temkin and editor Jodie Jacobs are professional writers who have contributed over the years to a variety of publications. Read more in the About section of Chicago Theater and Arts. Their selections could each have extended to five and more but were narrowed down to two apiece.

Reno Lovison

“Haymarket”

“Haymarket” was an important Chicago story, well performed and included appropriate Bluegrass music reminiscent of labor-oriented folk songs. See review of this Underscore Theatre Company’s production at Haymarket.

“The End of TV”

“The End of TV” made me a Manual Cinema fan, offering a fresh way to experience live performance utilizing old and new technologies. See review of the Manual Cinema production at The End of TV.

(***: In spite of my two picks I find myself periodically thinking about “Arcadia” and “Fear and Misery in the Third Reich” but probably more as a result of the playwright than the players.)

Pam McKuen

“Once”

A Paramount Theatre production, “Once” is a sweet but short-lived romance with an imaginative set and an upbeat cast of congenial music-makers that was put on at a suburban jewel. See review of Once.

“On Your Feet”

A Broadway in Chicago presentation at the Cadillac Palace, “On Your Feet” is the life story of Emilio and Gloria Estefan. It has everything you’d want in a musical: global hits, glitzy costumes, dramatic lows and comedic punches. I’d see it again. See review at On Your Feet.

Francine Friedman

“Miss Saigon”

Loosely based on the opera “Madame Butterfly,” the musical “Miss Saigon” embraces the relationship between an American GI and a young Asian woman while it follows the final days of the Vietnam War. The play’s touring company of wonderful actors, singers and dancers, along with real photos of orphaned, war-born American/Asian children displayed in its second act, brought the musical to life. See review at Miss Saigon.

“Women of Soul”

At the Black Ensemble Theater through Jan. 21, 2019, “Women of Soul” is a tribute to many well-known female singers, covering their different genres and numerous years. In addition to the wonderful performers who sing their famous tunes, many newly-revealed details of how their careers blossomed and how some of their lives ended adds insight to their backgrounds. And the closing tribute to the Queen of Soul, Aretha Franklin, brought everyone to their feet. See the review of Women of Soul.

Mira Temkin

“The Buddy Holly Story”

An American Blues Theater production, this high-energy biopic of singer/songwriter Buddy Holly kept the music going at a frenetic pace as a testament to the amazing talents of star, Zachary Stephenson and the entire cast. Even though “it was day the music died, according to Don McLean,” the audience never wanted it to end. See review at Buddy Holly Story.

“A Shayna Maidel”

What is family? Can it be created or reborn? “A Shayna Maidel” performed as a revival by TimeLine Theatre, answers these thoughtful questions in a most profound way. See review at A Shayna Maidel.

(*** Also agree that “Miss Saigon” is among the year’s best. This new versio, now on on tour ,takes out all the stops in theatrics, wowing audiences as one of the most spectacular musicals ever written and produced. Contemporary theatre goers can’t help but get caught up in the past, knowing how the war ended with the cost in human life and how many Vietnamese orphans the U.S. left behind.)

Jodie Jacobs

“La boheme”

Lyric Opera of Chicago’s “La boheme” was extraordinary theater. It had everything from inventive scenery and creative staging to exceptional acting, singing and orchestration. Fortunately, it continues in January, 2019. See the review at La boheme.

“Steadfast Tin Soldier”

Audiences have come to expect unusual presentations from Lookingglass Theatre. However, Mary Zimmerman’s adaptation and direction of the “Steadfast Tin Soldier,” has to be seen to really appreciate its outstanding pantomime and puppetry. See the review at Steadfast Tin Soldier.

1940’s come alive in ‘It’s a Wonderful Life’

Custer, Cameron, Robinson, Dahlquist, Joseph, Mohrlein (Photo by Michael Brosilow)

4 stars

If you haven’t been invited to a holiday party yet or are just feeling ready to get into the Christmas spirit, you can’t do much better than the American Blues Theater’s staged radio show version of Frank Capra’s classic “It’s a Wonderful Life-Live in Chicago!.”

In this production, the theater is set up to give the illusion that you are part of the studio audience for a live radio broadcast in 1944 at WABT Studio on Belmont Avenue in Chicago.

There is a spinet piano, stage left, and three old-timey microphones on stands across the front where most of the action takes place.

Stage right is an array of apparatus where Foley artist Shawn J. Goudie will add sound effects. Above the piano is a lighted sign which displays the words “On Air” and “Applause.”

Continue reading “1940’s come alive in ‘It’s a Wonderful Life’”

Thoughts on the Jeff Awards

Benson, Mahler, Stevenson and McCabe (preview) in Buddy-The Buddy Holly Story, an American Blues theater revival. (Michael Brosilow photos)

Some very fine performances and productions were honored at the 50^th anniversary of the Jeff Awards Oct. 22 at Drury Lane in Oakbrook Terrace.

As an example, American Blues Theater’s “Buddy – The Buddy Holly Story” received the most awards: Production – Musical -Midsize, Director Lili-Anne Brown, Principal Performer in a Musical Zachary Stevenson, Music Director Michael Mahler,and Ensemble – Musical or Revue.

But think about it. When the Academy of Motion Picture Arts and Sciences name the Oscar winners each year, movie goers who haven’t seen the award-winning shows still can catch them on DVD, Netflix and other film distributes.

There are arguably many people who would still like to see the American Blues Theater’s production. Continue reading “Thoughts on the Jeff Awards”