On the one hand it’s hard to review a show that is dated. At least, that is the feeling audience members may get watching “She Loves Me” at Citadel Theatre. The show is a Jerry Bock/Sheldon Harnick, Joe Masteroff muscial with award-winning revivals that started out in 1937 as “Perfumerie” by Hungarian playwright Miklos Laszlo.
It went on to become the film “The Shop Around the Corner” in 1940 then redone as “In the Good Old Summertime.”
The action takes place as the seasons change but mainly during the holidays. However, this is not a family Christmas show. (except for older teens who may appreciate the more risqué parts in a café and the excekkent choreography by Amanda Schmidt in the Perfumerie.)
By the end of the first act, and it is a long first act, minds can also be changed.
What started out as somewhat stilted workplace activities, conversations and rifts, developed into a romantic confrontation, resolution and possible workplace disasters.
Once we meet and get to know Amalia Balash well-played by Hannah Louise Fermandes and nicely done by Georg Nowack portrayed by Travis Ascione as the verbally dueling couple who start out on the wrong foot, the action, directed by Director Matthew Silar, grows on you until you care about their conflict resolution and those of other characters. Kudos also go to Jake Busse as the café waiter.
Considering how small Citadel’s stage is the scenic design by Eric Luchen is perfect. It includes an excellent side balcony style space for a quintet led by keyboardist Rex Mayer.
“She Loves Me” is at Citadel Theatre, 300 Waukegan Rd., Lake Forest, IL from Nov. 17 through Dec. 17/ Running time 2 ½ hrs. For tickets and other information visit Citadel Theatre.
(Kaitlyn Davis as Carole King in “Beautiful” at Marriott Theatre Lincolnshire)
3 1/2 Stars
The audience at the Wednesday Marriott opening of “Beautiful: the Carole King Musical,” are likely familiar with such classic songs as “You’ve Got a Friend,” “So Far Away,” “Up on the Roof,” and “You’ve Lost That Lovin’ Feeling.”
But I wonder if they know that the person who wrote them started out as a teenage songwriting phenom who had skipped two grades in school and whose mom wanted her to continue her classical piano studies.
Or that she started out as a pop composer whose first husband, Gerry Gofin, did the lyrics while she wrote the music.
Or that the grand piano on stage at the show’s start would actually reappear at the show’s end in Carnegie Hall.
With terrific dance and song examples, “Beautiful’s” long Act I showed how the music of the King-Gofin partnership was picked up and performed by well-known groups.
(“Beautiful” at Marriott shows how major performers adopted the King-Gofin songs)
The shorter Act II is about that partnership’s on-off crises and split up that led King to going it alone and her concert at Carnegie Hall. The show could have an Act III about all her awards, more partnerships and more songs plus her award-winning “Tapestry” album.
However, King’s “Beautiful” journey as performed at the Marriott Theatre is in the wonderful, over-the-top hands of Kaitlyn Davis from the national tour of “Beautiful.” BTW, Davis is also an accomplished pianist and songwriter.
Her co-star, Andrew Mueller, who is the brother of the Mueller sisters who performed “Beautifu”l on Broadway and the national tour, has impressive credits in Chicago area theater. He does an excellent portrayal of Gofin.
(Song-writing rivals and friends, Cynthis Weil (Erica Stephan) and Barry Mann, (Justin Albinde) )
A good picture of the song business is the delightfully done inclusion of couple Cynthis Weil portrayed by Erica Stephan, and Barry Mann, played by Justin Albinder.
Well directed by Jessica Fisch, “Beautiful” is basically a “jukebox” show that will bring back lots of musical memories.
“Beautiful: the Carole King Musical” is at Marriott Theatre, 10 Marriott Drive, Lincolnshire, Il now through Dec. 31, 2023.
With such Lerner and Lowe songs as “Almost Like Bein’ in Love” and “Come to Me, Bend to Me,” it would be hard to not put on a fine musical. However, Brigadoon, now presented at the North Shore Center for the Performing Arts by Music Theater Works, goes beyond merely “fine.”
Everything, from the voices and acting to dance numbers by Clayton Cross and costuming by Jazmin Aurora Medina, are spectacular. And that is happening, unlike the last Music Theater Works of “Springtime for Hitler” on the large stage. This production is crammed onto the small North Theatre stage.
But it works.
Directed by Sasha Gerritson and choreographed by Cross, the show features a sterling cast of ballet-style dancers and such exceptional singers in the lead as Conor Jordan as Tommy Albright and Sarah Obert as Fiona.
Albright and Fiona fall in love but the catch is the Scottish town of Brigadoon will disappear for one hundred years. Albright, an American who stumbled on it while exploring the country with his friend, Jeff (Zachery Linnert), returns with him to America and his somewhat jaded existence.
What happens next is that Love conquers all.
As with “Springtime,” the show has a large supporting cast of singers, actors and dancers – Madison Kauffman, Luke Nowakowski, Stan Austin , Will Leonard, Bob Sanders, Susannah Harvey, Kent Joseph, Timothy Wolf, Adam Raso, Delaney Good, Isa Ramirez, Jimmy Hogan, Anna Marie Abbate, Emma Jean Eastlund, Theresa Egan, David Geinosky, Dee Kimpel, Olivia Russell, Alex Villasenor, Chad Gearig-Howe and Renee Dwyer.
Go see it before Brigadoon disappears. The production is at the North Shore Center for the Performing Arts, 9501 Skokie Blvd, Skokie, IL through Nov. 12, 2023. For more information and tickets visit Music Theater Works | Great Music. Great Theater. The Works.
Cast O Mousetrap at Citadel Theater. (North Shore Photography Club photo)
Recommended
If you have seen “The Mousetrap,” Agatha Christie’s 1952 murder mystery that is still alive on stage in London, don’t give away the “who done-it” part.
With a reasonable run time of 2 hours, 20 minutes that includes a 15-minute intermission, the first act ends the play with you likely wondering, who is the next murder victim.
Directed by Scott Westerman who brilliantly presented Citadel’s award-winning “The Chrisians,” he has staged “Moustrap similar to a farce with characters moving in and out of doorways then appearing elsewhere.
As to the cast, they are mostly projected as somewhat overblown stereotypical characters that fit the “farce” slant.
So ask yourself who are these people, really? All the audience knows is that they are guests in the newly opened Monkswell Manor operated by newlyweds Mollie Ralston (Mary Margaret McCormack) and husband Giles (Jack Sharkey).
Next on the scene is a young, overly hyper lad named for architect Christopher Wren played by Jesus Barajas.
He is followed by Kristie Berger as the old maidish, times-have-changed Mrs. Boyle and William Ryder as the pleasant Major Metcalf.
Into the mix is Amy Stricker as Miss Casewell will drops hints that she had a difficult childhood.
The seemingly strangest character is Mr. Paravicini portrayed by Reginald Hemphill as an uninvited guest. He seems inordinately pleased with the guests’ makeup.
Last on stage is Detective Sergeant Trotter. Played by Sean Erik Wesslund, he first appears in the Inn’s big window on skis because the house is cut off by a persistent snowstorm.
Speaking of snow, the video created by cinematographer Ian Merritt adds drama to the show as does a strange mirror and other special effects.
So, don’t misread Westerman’s farcical handling of “Mousetrap.” Christie and Westerman are “dead” serious about the plot.
It supposedly was inspired by a real case about gravely mistreated children. It may lead some viewers to consider a case now in the news and the Illinois legal system.
Originally called “Three Blind Mice,” the nursery rhyme’s song is played in the background and thus raising the questions who are the mice and is the inn acting as a mousetrap?
DETAILS: Mousetrap is Sept. 15-Oct. 15 at Citadel Theatre Company, 300 S. Waukegan Rd., Lake Forest, IL. For tickets and information call (847) 735-8554, x1, or visit Citadel Theatre.
(Maddy Shilts, Whitney Wolf, Ben Isabel, Ben Paynic, Luis Del Valle, Elizabeth Bushell, Madelynn Oztas)
Recommended
Directed by Wayne Mell, this Madkap Production of “A Chorus Line” at the Skokie Theatre, is on pointe. It taps into the essence of love and dedication to the art of dance.
“A Chorus Line” is an anthology of songs and monologues bringing to light the collective motivations and inspirations that keep people involved in a mentally and physically demanding occupation.
Through the individual stories and seemingly endless rehearsals we are reminded of the hard work and athleticism required to make moving to music look artful and effortless. All of that requires intense dedication while offering only rare substantial successes.
Onerous choreographer Zach played by Sean M.G. Caron, cajoles a select group of hopeful chorus applicants into revealing some of their deepest secrets while continually drilling them on numerous dance routines. He is barking orders all the time to lift their chin, raise their arms and smile less while looking like they’re having fun.
From those who survive the ordeal only a handful will be selected.
In the song “What I Did For Love,” (music by Marvin Hamlisch and lyrics by Edward Kleban) beautifully sung by Diana (Marcela Ossa Gomez), she says of the grueling work and unmet promises “We did what we had to do – – Won’t forget, can’t regret — What I did for love.” In this context it’s the love of the craft, the love of dance.
It may be a useful reminder that when first staged in in 1975, frank conversations about sexuality in general and homosexuality specifically were unusual and a bit shocking for theater goers. In “Hello Twelve, Hello Thirteen, Hello Love” the ensemble shares stories of puberty, adolescence and sexual awakening.
But in “Dance 10: Looks 3” (a reference to her performance score) dancer Val (Lili Javorka) lightens the mood in a song more commonly referred to as “Tits and Ass” where she reveals that surgically enhancing those assets improved her career.
It cannot be overlooked that the intense, nearly nonstop two-hour score by Hamlisch is a workout for the production pianist, in this case, the extremely capable musical director Jeremy Ramey who must also be credited with the precision of the ensemble vocal numbers and that the musical subtleties and multi-voice harmonies within the songs were preserved and celebrated.
Though there were a few obvious “ringers” the vocal capabilities of the cast exceeded their dancing “chops.” But that does not detract from their earnest effort led by choreographer Susan Pritzker.
The production is a substantial aerobic workout that requires continual attention to complicated footwork and challenging movements, all while singing, talking or being otherwise engaged with what is happening on stage
The onstage leadership of dance captain Ben Paynic, echoed by his character of Larry, was amusing and quietly assuring. In a sense he represented the ideal that all of the rehearsal was supposed to finally achieve.
Set design by Scott Richardson could not be more minimal, consisting of a few mylar sheets as mirrors on the back wall flanking an opening that exposed the backstage area and pianist.
I get that this was supposed to be a rehearsal area and admittedly the Skokie Theatre stage is already a bit small for a show with a large dance ensemble. But when there were only one or two people in a scene, they seemed lost in space.
For instance, in the scene between Zach and Paul (Luis Del Valle) a simple chair might have grounded them and given them a reference point. Likewise, the lighting was virtually nonexistent, being fully up most of the time. This made me as an audience member feel like I was watching a rehearsal and not in a good way
Again, in the previously mentioned scene or during Cassie’s (Sarah Sapperstein) solo dance, some isolating lighting might add to the intimacy of these moments.
Sadly, the costumes by Patti Halajian were overall a miss for me, in this show, where there is so much fun and interesting off-the-rack potential.
The biggest faux pas was the finale which aside from being generally ill-fitting was way too much bling for this small space. What’s important in the finale is that the chorus line be uniform and synchronized. Save the glitter for a larger venue.
Each individual cast member did an outstanding job on their spotlight performances. A standout for me was Emma Drazkowski as Maggie while my wife thought Whitney Marie Wolf as Judy “was the real deal.” I also thought Del Valle’s scene was very moving.
Aside from a few minor gaffs as mentioned this show was great fun and very enjoyable. The full house is a further indication that Madkap provides an important function in Skokie, offering competent entertaining live theater experiences to the Northshore communities in a convenient, comfortable, modern venue.
DETAILS: “A Chorus Line” is at the Skokie Theatre, 7924 Lincoln Ave, Skokie, IL through October 8, 2023. Running time is 2 hours with no intermission. For tickets and information visit http://skokietheatre.org or call (847)677-7761.
Lauren Maria Medina as Louise (Photos by Liz Lauren).
A musical fable comes to life at the Marriott’s fine production of GYPSY. Its all-star cast showcases the tale of the ultimate stage mother, Rose, who fights for her daughters’ successes while really wanting her own moment in the spotlight.
Opening on Broadway in 1959, Arthur Laurents’ GYPSY was nominated for eight Tony awards and has been a beloved classic for generations.
Taking her daughters across the country in search of that next big gig in the waning days of vaudeville, Rose continually dreams of seeing daughter June’s name in lights. A three-times divorced mamma, nothing will get in Rose’s way, not even a new suitor by the name of Herb, who is kind and loyal.
Make no mistake, this is a woman’s show, empowering and emotionally problematic.
When June tires of the act and runs off to get married, Rose channels her interest in her other daughter, Louise, to make her a star.
The musical features Broadway star Lucia Spina as Rose whose loud, brassy, and booming voice perfectly captures the pushy stage mother. She belts out every song, reminiscent of Ethel Merman who played Rose on Broadway.
Lucky for the audience, a warm welcome back to the Marriott stage is given to the Jefferson award-winning Nathaniel Stampley as suitor Herbie who is charming and authentic. But having seen Stampley in other Marriot roles like “Man of La Mancha” and “Ragtime,” his amazing talent seems somewhat wasted.
Nathaniel Stampley (Herbie) and Lucia Spina (Rose )
The audience watches as Lauren Maria Medina who plays Louise is transformed from a mousy little girl into a confident, successful burlesque superstar, the legendary Gypsy Rose Lee. Her voice is powerful and strong.
With music by Jule Styne and lyrics by Stephen Sondheim, the show boasts a memorable score including: “Everything’s Coming Up Roses,” “Let Me Entertain You,” “Some People,” and “Together Wherever We Go.”
Kudos to J’Kobe Wallace who plays Tulsa and an ensemble member for his outstanding dancing that took the house down.
The Marriott production will likely feel different from other GYPSYs because director Amanda Dehnert working with choreographer Stephanie Klemons and music director Jeff Award Winner Ryan T. Nelson emphasized its emotional toll and darker side.
On a different note: Fans of Nathaniel Stampley will be happy to know he takes the stage in an intimate evening of solo songs and stories for one night only, October 15 at 7:30 p.m. In Songs & Stories: Nathaniel Stampley in Concert, Mr. Stampley traces his career from Milwaukee to Chicago, Broadway, London and beyond.
DETAILS: GYPSY is at the Marriott Theatre, 10 Marriott Drive, Lincolnshire, IL through October 23, 2023. Running time: 2 hours, 40 minutes with one intermission. For tickets and other information, visit www.marriotttheatre.com or call the Marriott Theatre Box Office: (847) 634-0200.
The North Shore Center for the Performing Arts’ Center Theatre is the perfect space for Music Theater Works’ The Producers.
Unlike the company’s “Camelot” which was crammed into the small theater, it has the space for Producers director Walter Stearns,’ choreographer Darryl K. Clark’s’ and scenic designer Jonathan Berg-Einhorn’s interpretations of Mel Brooks Tony Award winning musical comedy. They need the space for their terrific dancers and talented cast.
With the excellent singer-actor Thomas M. Shea in the lead as Max Bialystock and David Geinosky as the nerdy accountant-turned producer sidekick, the show rollicks from a scheme to make millions with aBroadway flop to their unintentional, probably disastrous, success as a hit. Kelsey MacDonald as their Swedish bomb/secretary/receptionist Ulla, is a bonus.
The show, which would likely not appeal to conservative theater goers, is what anyone who attends should expect from Mel Brooks who rejoices in off-color dialogue, surprising topis and action. So blame him and co-book writer Thomas Meehan. The funny, rousing, music and lyrics are also by Brooks.
The Producers is a fun break in the theater season.
DETAILS: The Producers is at The North Shore Center for the Performing Arts” Center Theatre, 9501 Skokie Blvd., Skokie, IL through Aug. 20, 2023. Running time:2 hours, 30 minutes with one intermission. For tickets and other information visitMusicTheaterWorks.com or call Music Theater Works Box Office: (847) 673-6300.
After seeing “Buddy – The Buddy Holly Story,” an extraordinary musical production that opened at Marriott Theatre in Lincolnshire, June 28, it’s hard not to think of Don Mclean’s version of ” American Pie” (see Rolling Stones and the “Day the Music Died) .
Of course, the show ends with a darkened stage for the tragic plane crash that took the lives of Holly, two other performers and the pilot. But the lights come back on, the music returns to high intensity and the audience knows Holly’s music lives on.
With “Buddy,” Marriott Theatre introduces another generation to Holly’s rock ‘ n’ roll style and songs. In doing so, the Marriott brilliantly cast Kieran McCabe as Buddy.
Written by Alan Janes, directed and choreographed by Amber Mak with music direction by Matt Deitchman, the production deserves the long, standing ovation it received on opening.
Other versions of the show have been mostly on national and international tours, but if it returns to Broadway where it opened at the Shubert Theatre Nov. 4, 1990 (and ran for 225 performances), it should star the exceptionally talented McCabe as Buddy.
More than a “jukebox musical” featuring the songs of Holly, those of the “Crickets,” as they were known when they backed Holly, and later, after he died, other rock n’ roll songs of the 50s and 60s time period, it’s clear it takes more than just knowing how to play a guitar. A lot of “Buddy” is showmanship.
You see Holly turn audiences onto rock’n’roll as he moves from a less than successful start in Lubbock, Tx at age 19 where a recording studio manager wanted country, not rock’n’roll, through Nashville, TN and on to the NorVaJak Studios in Clovis, NM, where his and the Crickets “That’ll be the Day” recording was released, May 1957, reached number three on the Billboard Top 100 by mid-September and went on to future successes including in Harlem.
By the end of the show you see McCabe play his guitar backwards, over his head and stop at the piano to add a riff similar to what audiences see in “Million Dollar Quartet.”
Indeed, some of the musicians in Buddy” have played in that show. McCabe was Fluke, the drummer/ Crickets’ bassist Joe Maudlin was Carl Perkins.
The show, a rocking 100 minutes without intermission, magnificently proves, once again, that Buddy Holly’s musical vision, personality and ground-breaking style made him the super star that would live on past his tragic plane crash in 1959 at age 22.
DETAILS: “Buddy – The Buddy Holly Story” is at Marriott Theatre, 10 Marriott Dr., Lincolnshire, IL, now through Aug. 13, 2023 Run-time approx 100 minutes with no intermission. For tickets and other information visit Buddy.
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.
The Porch on Windy Hill, Morgan Morse, Lisa Helmi Johanson, David M. Lutken. (Photo courtesy of Northlight)
4 Stars
Maybe I’m a sucker for how folk music tells stories of other cultures while also leading to life changing experiences.
I loved “Once” since seeing it downtown Chicago years ago and just recently at Writers Theatre in Glencoe.
Steeped in Irish folk music and movement, the play brings an Irish musician/songwriter back from the brink of self-destruction as “Girl” whom he meets, convinces him his music is listening-worthy.
Then, this weekend, I fell in love with “The Porch on Windy Hill,” a bluegrass musical presented by Northlight Theatre in Skokie.
The play reunites Mira, a classical violinist, with Edgar, her Appalachian grandfather, a noted blue-grass musician living in the North Carolina mountains.
Ostensibly, the reason they see each other again is because Mira’s partner Beckett’s doctoral dissertation is on folk music cultures and they needed a break from their Brooklyn apartment where they were cooped up during the pandemic.
Lisa Helmi Johanson, David M. Lutken, Morgan Morse in The Porch on Windy Hill
All three characters are really fine musicians and Mira, played by Lisa Heimi Johanson, has a terrific voice. So basically, audiences are treated to an exceptional “wingding” or “hootenanny.” But there is a backstory.
Beckett, portrayed by Morgan Morse, keeps trying to get Mira to explain why there appears to be a disconnect between her and her grandfather, called “Gar,” played by David M. Lutken.
Clues are dropped along the way by Mira who is biracial as she notices some changes around the old homestead. When Gar mentions that new families are moving into the area, she wonders if and how they are accepted.
When pressed again by Beckett, Mira, whose mom is from Appalachia and whose father is Korean, finally said, “It’s complicated.” Later, she admitted she felt her grandfather didn’t approve of the union because of his behavior towards her and her family.
Conceived and directed by Sherry Lutken, “The Porch on Windy Hill,” was written by Sherry Lutken and its actors: Lisa Heimi Johanson, Morgan Morse and David M. Lutken.
Set designer Mara, Ishihara Zinky, came up with the perfect porch and housefront for the play’s joyful music and serious discussion.
Details: “The Porch on Windy Hill” continues through May 14, 2023, at Northlight Theatre in the Center for Performing Arts, 9501 Skokie Blvd, Skokie. Running time: 2 hrs., 10 min. with one intermission. For tickets and other information visit Northlight Theatre.
