Theatre in Chicago – Page 7 – Chicago Theater and Arts

Masterful ‘Cherry Orchard’ at Goodman Theatre

(L-R) Francis Guinan, Kate Fry and Christopher Donahue in Anton Chekhov’s 'The Cherry Orchard' Photos by Liz Lauren — :(L-R) Francis Guinan, Kate Fry and Christopher Donahue in Anton Chekhov’s ‘The Cherry Orchard’ Photos by Liz Lauren

Highly Recommended

Rich and masterful, “The Cherry Orchard” serves as a triumphant curtain for Robert Falls’ Goodman Theatre tenure.

If one had to choose a perfect ending for Robert Falls’ three-decade career as Artistic Director at the Goodman Theatre, his production of “The Cherry Orchard” would be it.

Anton Chekhov is Falls’ favorite playwright next to Shakespeare, and he purposely chose this play to close out his illustrious career.

“The Cherry Orchard” is Chekhov’s final play, written before his death in 1904. It deals with a failing Russian aristocracy, love, loss, and issues of class in society.

Make no mistake, “The Cherry Orchard” is billed as a comedy through witty dialogue, fall-down laughing antics, and squeaky boots.

Yet the audience is consumed with sadness throughout the production due to memories of painful loss from the generations who lived and died on that estate.

L-R) Matt DeCaro, Janet Ulrich Brooks, Kate Fry, Alejandra Escalante and Kareem Bandealy in Anton Chekhov’s The Cherry Orchard

The plot revolves around widow Madame Lubov Ranevskaya who has just returned to her crumbling estate right before its auction to pay off her debts. She is lamenting the loss of her precious cherry orchard.

Her family surrounds her in support, yet they all have issues of their own.

Chekhov’s strategic use of foreshadowing is evident in many places, letting the viewers know that something bad is about to happen.

The ending is somewhat shocking, but enriches the story and its deeper meaning.

Kate Fry as Lubov Ranyevskaya is the perfect matriarch, showcasing a variety of emotions from frivolity and joy to deep melancholy and despair as to what the future holds. She is exuberant.

Standouts also include Janet Ulrich Brooks as Carlotta, the governess who also has a few magic tricks up her sleeve, and Stephen Cefalu as perpetual student Petya Trofimov who represents the play’s moral compass of social justice.

Note the off-stage music played by the Maxwell Street Klezmer Band led by Alex Koffman, in their first collaboration with The Goodman. Their arrangements lend 19th-century authenticity and warmth to the production.

Kudos to set designer Todd Rosenthal for his exquisite settings that move about the stage in absolute precision. Ana Kuzmanic’s costumes are gorgeous, colorful when need be with themes of red, black, and ivory. Memories of these costumes will stay with you long after the show.

For more background, attend Behind the Curtain (April 22 at 4:30pm)—led by Goodman’s resident dramaturg Neena Arndt. She will lead a conversation with former Goodman artistic director Robert Falls about his fresh take on the last of Chekhov’s four major plays.

Details: The Cherry Orchard” is at Goodman Theatre through April 30, 2023 in the Albert Theatre. Running Time: 2 hours and 15 minutes with one intermission. For tickets and more information, go to GoodmanTheatre.org/Cherry or call (312) 443-3800.

Mira Temkin

For more shows visit Theatre in Chicago

Rumors abound at a Neil Simon party

'Rumors' cast at Skokie Theatre. (Photo by MadKap Productions) — ‘Rumors’ cast at Skokie Theatre. (Photo by MadKap Productions)

Highly Recommended

The “Rumors” Are True…Skokie Theatre’s Neil Simon Farce is a Smash Hit!

In the years before social media was a “thing,” local gossip was the way to go. How else could people gauge the real social order? Who was cheating on whom? What was true and what was just a rumor?

Add in that when several people are also politically involved with something to lose if the truth gets out you’ve got real mayhem – or “Rumors,” a hilarious farce from the master of American comedy, Neil Simon.

Welcome to an upscale dinner party hosted by a wealthy New York couple who are celebrating their 10^th wedding anniversary. Unfortunately, the party goes terribly wrong.

Guests arrive to discover the host has been shot, the hostess is missing, and the servants have quit.

Produced in 1988, “Rumors” still holds the same caustic bite as when it first came out. The brilliant, fast-paced dialog gives all the actors a chance to shine.

The play stars Erin Renee Baumrucker, Landon Cally, Luke Coleman, Peter Goldsmith, Julie Peterson, Maddy Shilts, Nathan Dale Short, SarahAnn Sutter, Katherine Wettermann, and Lee Wichman.

Ken and_Chris: played by Nathan Sale Short and Erin Renee Baumrucker in Rumors. (Photo by Madcap Productions) — Ken and Chris: played by Nathan Sale Short and Erin Renee Baumrucker in Rumors. (Photo by MadKap Productions)

Standouts include Peterson as Claire Ganz who recently appeared as Ethel Merman in the “Book of Merman” at Skokie Theatre. She is a bubblehead with lots of great lines that keep the audience in stitches

Cally as Lenny Ganz plays a range of emotions. In his final monologue. he makes up an entire story of what really happened to the hosts, Charley and Myra and his performance is stellar.

Kudos to Police Officer Welch, played by Shilts, as no-nonsense in law enforcement as they come.

Directed by Wayne Mell and produced by Wendy Kaplan of MadKap Productions, “Rumors” takes the audience on a hysterical romp through a case of mistaken identity, the constant opening and closing of doors, and a little bit of slapstick thrown in.

The women’s costumes, headed by custom designer Wendy Kaplan and wardrobe mistress Patti Halajian, are exquisite and elegant. How lucky, the actresses get to wear them all night long.

Details: Rumors is playing at the Skokie Theatre, 7924 Lincoln Avenue in Downtown Skokie through April 23. Running time: 2 and a half hours with one 15-minute intermission. For tickets, go to skokietheatre.org or call 847-677-7761. The 2023-24 season starts in June with “Hair.”

Mira Temkin

For more shows visit Theatre in Chicago

Voices make this Carmen shine

Carmen at Lyric Opera now through April 7. (Photo by Todd Rosenberg)

3 stars

Carmen, George Bizet’s brazen break with opera traditions when it debuted in Paris in 1875, is the perfect vehicle to introduce high school students to the genre. Indeed, I saw two student groups when at the Wednesday matinee March 15.

An opera that portrays a colorful, independent female who makes her own life and lover choices and that is filled with beautiful duets, solos and powerful musical themes, Carmen changed minds from its originally negative reviews to become among the most popular operas of all time.

Few listeners, even non-opera goers could disagree that Act 1’s “Habanera” “L’amour est un oiseau rebelle “ (Love is a rebellious bird), a song with a Cuban beat explaining Carmen’s temperament, and Act 2’s “Toreador Song” sung by the bullfighter Escamillo who would become Carmen’s lover, are easily identifiable as from Carmen.

In addition, the voices are superb. Lyric’s former Ryan Opera Center star, mezzo-soprano J’Nai Bridges, is the sultry Carmen. Famed tenor Charles Castronovo is Don José who drops his home-town girlfriend, Micaëla, and his regiment when seduced by Carmen.

Although audiences are familiar with most of Act 1’s music, the duet of Castronovo and soprano Golda Schultz as Micaëla about a letter and kiss from his mother (“Parle-moi de ma mère!”), drew applause from those listeners who appreciated Schultz’s voice. (She was definitely appreciated in Act 3 when singing her aria, “Je dis que rien ne m’épouvante” as she gathered courage to try to pull José away).

Baritone Andrei Kymach is fine and appropriately confident as bullfighter Escamillo.

The set design nicely evoked a Spanish square and I still liked the mountains and moon I saw in an earlier Carmen at the Lyric. Of course, Bizet’s music dramatically tells the story. So why did the production feel that something was missing?

The voices were excellent, but except with Schultz, there seemed to be a gauze screen between the singers. I remember when years ago they stood still to sing their arias. Now, opera stars are expected to act their roles so I was looking for more intensity.

Maybe it was the music’s tempo. It’s not supposed to overpower the singers but it wasn’t strong enough in parts.

Or maybe Bridges, who is gorgeous, could up the sultry moves and maybe Castronovo could seem reluctant to leave Micaëla as Carmen tries to pull him in with her teasing.

I definitely recommend this Carmen because the voices are excellent but I left feeling something was missing.

Details: Carmen is at the Lyric Opera House, 20 N. Wacker Dr., now through April 7, 2023. It’s in French with projected English titles. Running Time: 3 hours 25 minutes with 2 intermissions. For more information call (312) 827-5600 or visit lyricopera.org/carmen.

Jodie Jacobs

For more shows visit Theatre in Chicago

Charlie Brown stands the test of time

Charlie Brown at Marriott Theatre. (Photo by Liz Lauren)

Highly Recommended

A perfect introduction to children’s theatre, “You’re a Good Man, Charlie Brown,” is a one-hour production in the Marriott Theatre for Young Audiences series.

It’s amazing how timeless this musical, written in 1967, continues to be as it highlights the anxieties and insecurities of children in every generation.

Based on the characters created by cartoonist Charles M. Schultz in his comic strip, Peanuts, the play remains delightful in its simplicity and poignancy.

Charlie Brown and his rag-tag group of friends create a series of vignettes that explore life’s great questions and their relationships with one another. Through it, they play baseball, struggle with sibling rivalry, sing and celebrate their own happiness.

The production stars Patrick Michael Tierney who is a perfect Charlie Brown. Tafadzwa Diener is Lucy who is not only bossy but delivers wonderful vocals as well. Matthew Bettencourt plays Schroeder. Jackson Evans is Linus and Amanda Walker is Sally.

The star of the show really is Andres Enriquez who, as Snoopy, must convey a variety of “doggie” emotions. Hysterical.

One of the lyrics to the final song, “Happiness,” is “Happiness Is anyone or anything that is loved by you.” Could there be anything sweeter?

This production is directed and choreographed by Linda Fortunato, with musical director/conductor Rick Bertone and musical supervisor Ryan T. Nelson.

The show includes additional music and lyrics by Andrew Lippa and dialogue by Michael Mayer from the Tony Award-winning Broadway revival.

This is the first show in the 2023 Young Audience season. Next up is “Elephant and Piggies: We Are in a Play” from July 14 to August 1.

Details: You’re a Good Man, Charlie Brown is at Marriott Theatre, 10 Marriott Drive, Lincolnshire, through April 1. For tickets and more information visit Marriott Theatre Charlie Brown and Marriott Theatre.

Mira Temkin

For more shows visit Theatre in Chicago

A show to see more than ‘Once’

Dana Saleh Omar and Matt Mueller in Once at Writers Theatre. (Photo by Michael Brosilow)

3/1/2 Stars

I fell in love with “Once,” a musical based on a John Carney 2007 film, when it first played in Chicago in 2013 and again in 2015.

But the word, “musical,” may erroneously bring images to mind of such full-stage touring shows as “Chicago and “Les Miserable.”

Appearing now at Writers Theatre where it can intimately be performed almost in-the-round, the audience’s focus is on its main characters beautifully portrayed by two popular regional theater actors: Dana Saleh Omar (national tour of “The Band’s Visit) as Girl, and Matt Mueller (“The Play that Goes Wrong” tour) as Guy.

Girl is a sympathetic but stubborn musician who pulls Irish musician/song writer Guy away from severe mental despondency when the person he wrote and sang about leaves him for New York City.

Her vehicle to getting through to him is, surprisingly enough, a Hoover Vac that he can fix for her in his father’s shop where he lives above the store and works when not writing and performing.

The dialogue, a creative play on words often infused in the script, is something like: “It (the Hoover) doesn’t suck,” she tells him. “Are you serious,” he asks. “I’m always serious. I’m Czech,” she says.

On the way to bringing Guy back to a mental state where he wants to live and perform, the audience meets her Czech family, Guy’s father, Da, the Irish bartender and band members.

They all make up the show’s musician/performing cast. And they all, including Girl’s 8-year-old daughter, Ivonka, played by Kajsa Allen, are terrific. (She alternates with 11-year old Viva Boresi.)

As with the national tour production, they also (except for Ivonka) stay on stage, usually seated when not performing. The staging is simple.

The main differences I found were that the focal point is an upright piano instead of a stocked bar and the musicians/performers had more choreographed stage time that included pre-curtain Irish music.

Kudos to the talented supporting cast: Elisa Carlson (Reza), Yuchi Chiu (Bank Manager), Matt Deitchman (Band music director/ Eamon), Elleon Dobiaa (Ex Girlfriend), Matt Edmonds (Billy), Jordan Golding (Emcee), Lucas Looch Johnson (Svec), Liam Oh (Andre), Ron E Rains (Da) and Bethany Thomas (Baruska).

The show is well directed and choreographed by Katie Spelman with excellent music direction by Deitchman.

Music and lyrics are by Glen Hansard and Marketa Irglova with book by Enda Walsh.

“Once” picked up 11 Tony Award nominations in 2012, winning eight awards that included Best Actor, Book and Musical. It had also won the Academy Award for best song “Falling Slowly.”

Details: “Once is at Writers theatre, 325 Tudor Court, Glencoe now through April 2, 2023. Running time 2 hrs, 20 min. with one intermission. For more information and tickets visit. Writers Theatre.

Jodie Jacobs

For more shows visit Theatre In Chicago

Two Mormans plus one Merman equal total mayhem in ‘Book of Merman’

L to R: Danny Ferenczi as Elder Shumway, Julie Peterson as Ethel Merman and. Alex Iacobucci as Elder Braithwaite. (Photo courtesy of MadKap Productions

3 1/2 Stars

Fans of the late, great Ms. Ethel Merman will love this spoof on the Broadway Diva as it comes to life at Skokie Theatre. The show has everything – memorable music, high-energy dancing, gorgeous costumes, and a heartfelt message about being true to yourself. It’s no wonder the performance was sold out the night we went.

Two Mormon missionaries who are down on their luck in selling souls ring the doorbell of the brash and brassy Ethel Merman. Misunderstandings of all kinds take place and hilarity ensues.

The audience gets the benefits of fabulous show-stopping numbers belted out by the trio. But listen carefully as the lively songs with music and lyrics by Leo Schwartz and book by DC Cathro play off Merman’s greatest hits; some subtle, others not so subtle, because you’ll recognize this legend’s most beloved music among Broadway’s best.

The two Mormon missionaries are played by Alex Iacobucci as Elder Braithwaite and Danny Ferenczi as Elder Shumway who are funny and talented. They will sing and dance their way into your heart. Perhaps if start singing as soon as they ring the doorbell they will get better results!

Julie Peterson is the soul of the show as Ethel Merman. She has the same loud, booming belter voice that was Merman’s trademark.

No wonder. Peterson was the understudy and performer in the role when it launched off-Broadway in 2018. She perfectly captures the mannerisms, intonations, and sassiness of the star.

Produced by Wendy Kaplan of MadKap Productions with Wayne Mell as associate producer, the show is directed and choreographed by Ty Perry. Musical direction is by pianist Jeremy Ramey and percussionist Craig Buckner who sit behind the stage.

Set design is by Scott Richardson, lighting design is by Pat Henderson and kudos once again, to costume designer Patti Halajian whose dresses for Ethel are simply dazzling.

In Act 2, the show changes and real identities step forward giving the audience new appreciation for the characters and the show.

Concluding the season for Skokie Theatre is Neil Simon’s hilarious farce, “Rumors,” March 31 to April 25, 2023.

Details: “Book of Merman” is at Skokie Theatre, 7924 Lincoln Ave in downtown Skokie, IL through Feb 26, 2023. Run time: 2 hours with one intermission. For information and tickets visit SkokieTheatre.org or call (847) 677-7761.

Mira Temkin

For more shows visit Theatre in Chicago

Profound Citadel play tackles religious divides

L-R (far back) Ellen Phelps,(front left) Abby Chafe), Scott Phelps and Manny Sevilla in 'The Christians' at Citadel Theatre. (Photo by North Shore Camera Club) — L-R (far back) Ellen Phelps, (front left) Abby Chafe), Scott Phelps and Manny Sevilla in ‘The Christians’ at Citadel Theatre. (Photo by North Shore Camera Club)

4 Stars

No matter what the religion espoused at home, “The Christians,” an Obie Award winning drama by Lucas Hnath, is bound to provoke discussion on the way home.

A remarkable production in both acting and set design, the play does not advocate a specific organized religion but raises theological questions about heaven, hell, G..d, the bible, sin and why members attend – all in an approximately 80 minutes of action and debate.

The setting is primarily Pastor Paul’s mega-church, enhanced by Pangaea Technology’s grid of 90 two-foot-square, state of the art digital video monitors to crate the church’s large interior. Also creating the right look are Intelligent Lighting Creations, BI (background Images), cinematographer Ian Merrin and scenic designer Johnathan Berg-Einhorn.

Audience members immediately become part of the congregation as Pastor Paul, played by Scott Phelps, walks in through the same door they used to enter, and welcomes the people he passes to the service.

Phelps then proceeds to mesmerize the audience with the first part of Hnath’s viewpoints in his sermon followed by theological disagreements argued by Associate Pastor Joshua, well portrayed Manny Sevilla.

Adding to the interplay are temperate thoughts from Church Elder Jay, quietly presented by actor Frank Nall, and agitated disagreement from Pastor Paul’s wife, Elizabeth, played by Scott Phelps wife, Ellen Phelps. (Both the Phelps are also production managers.)

In addition, Jenny, a congregant played with just the right emotional intensity by Abby Chafe, relays the problems she is facing from people who agree with the now former Pastor Joshua.

Members of Forte Chicago singers are in the choir who seem to be seated behind a screen at the back of the stage.

Tying it all together to create an atmosphere about to explode atmosphere is Director Scott Westerman who explains in the program how important the particular technical aspects used by Citadel are to a production on stage in the age of Zoom and selfies.

His note also raises meaningful questions about being good and doing good, rightness and righteousness and the source of people’s beliefs.

Hnath certainly deserves the Obie and Citadel and its excellent actors and crew deserve the standing ovation they received opening night.

Details: “The Christians” is at Citadel Theatre, 300 S. Waukegan Rd., Lake Forest, IL, now through March 12, 2023.

For tickets and more information visit Citadel Theatre.

Jodie Jacobs

For more shows visit Theatre in Chicago

Imagine what can happen in a Cooney Farce

(Top l-r) Aimee Kleiman, Debra Rodkin, Declan Poll bottom David Whitlock and Tim Walsh) Photo by North Shore Camera Club

Recommended

Instead of going the Dickens or Christmas Story route, Citadel Theatre is doing “It Runs in the Family,” a classic British farce by comedic playwright Ray Cooney of “Run For Your Wife” and “Funny Money” fame.

Its setting is a London hospital right before Christmas where presents for children are hidden like a body beneath a covered gurney and references to a Christmas Panto (a nutty pantomime) give it the requisite holiday note.

But anyone familiar with farces know that what really is important is a fast-paced rhythm of entrances and exits, revelations, mistaken (or not) identities and flow of ribald, fat fanny and rear-end gags.

The Citadel cast is excellent but on the Sunday I went, the first half of the first act felt slow and the audience didn’t pick up the gags until later.

Timing and pace is everything in a farce. It finally picked up speed and the characters threw their lines out with gusto during the second half of the first act which the audience appreciated with loud snickers, guffaws and applause.

All the action takes place in the doctors’ common room where Dr. David Mortimore is trying to prepare for his important, possibly career-making, speech to a conference of neurologists- when.

The not-so-morally-good doctor, played by Tim Walsh, had lots of reasons to be overly anxious. Walsh is believable as Mortimore if this were a regular play and not a farce. It’s actually OK to overplay anxiety.

Former nurse Jane Tate (Aimee Kleiman who also played her role as if it were a regular play) confronts Dr. Mortimore with the reason she had to quit 18 years and 9 months ago. Their illegitimate son, Leslie, is downstairs with a policeman because he drove drunk but wants to meet his father.

Mortimore’s wife, Rosemary Mortimore, portrayed by the consummate actress Ellen Phelps, shows up, is not supposed to know about the nurse or Leslie but sympathizes with all the tall tales her husband tells to cover up everything that is going on.

Matron, a terrific foil for all the goings on is perfectly played by Debra Rodkin as she is in and out with the gurney, holds a needle to subdue Leslie who has made his way upstairs to the doctors’ room, and she is yelling outside the window that she can’t hold on any longer while stopping Leslie from falling, entering or leaving.

Dr. Hubert Bonney, a good friend of Dr. Mortimore, well-portrayed by David Whitlock is also an excellent foil for the shenanigans and agrees to temporarily pretend he is Leslie’s father.

Leslie, the misbegotten reason for the action, is done by Declan Poll as a punk-rocker-style teenager who elicits sympathy because he just wants to meet his Dad.

Pompous Sir Willoughby Drake who wants to go over Dr. Mortimore’s speech, is well-handled by Ed Kufferft and elicits a fine chuckle when he sees Leslie bending in front of Mortimore.

Dr. Mike Connolly whom we meet early on when he tries on a tutu and other costume items for the Panto is delightfully portrayed by Philip J. Macaluso.

Police Sergeant. Don’t most farces need a policeman? Chris Bruzzini takes on that role but he could be played as more befuddled or with more personality than shown.

Scenic designer Eric Luchen makes full use of the small Citadel stage with two hospital-like doors, two regular doors and a window that is just right for some hilarious scenes.

Costume designer Elizabeth Monti had us believing we were in a hospital and Leslie was a nutty punk rocker.

Directed by Pat Murphy, the show is a nice change from the tear inducing Christmas dramas trying to make a statement this time of year.

DETAILS: “It Runs in the Family” is at Citadel Theatre, 300 South Waukegan Rd, Lake Forest, IL., through Dec. 18, 2022. For tickets and more information visit Citadel Theatre. Citadel Theatre or call (847) 735-8554.

Jodie Jacobs

For more shows visit Theatre in Chicago

A delightful Christmas Story works well on Marriott stage

Leg lamp award dance sequence featguring Lorenzo R ush Jr at the Old Man (Photo courtesy of Mariott theatre) — Leg lamp award dance sequence featuring Lorenzo Rush Jr at the Old Man (Photo courtesy of Mariott theatre)

3 Stars Recommended

In a city filled with theater companies producing traditional holiday fare, Marriott Theatre has chosen a show usually seen as a film replayed on TV but seldom performed live.

First, what it’s not. “A Christmas Story Is not a moralistic Dickens’ style redemption piece that appeals to the whole family or a Jane Austen type upstairs, downstairs manners piece with sophisticated appeal.

Marriott Theatre’s “A Christmas Story: the Musical,” is a comedy that captures some of the frustrations and coping mechanisms of the middle-class, Midwestern Parker family, and particularly, those of its nine-year-old boy named Ralphie. Middle school aged kids and their parents would appreciate Ralphie’s and the Old Man’s challenges.

Based on a 1983 movie by Jean Shepherd, Leigh Brown and Bob Clark and Shepherd’s collection of vignettes published in 1966 as “In God we trust: All others pay cash,” the musical version has a book by Joseph Robinette with music and lyrics by Benj Pasek and Justin Paul.

The songs, such as “The Genius on Cleveland Street” and “When You’re a Wimp,” are insightful instead of memorable and hummable.

Playing during the holiday season through Jan. 1, 2023, the show introduces another generation to Shepherd’s famed, sexy “Leg Lamp” that sits in the Parker family’s front window in Homan, IN.

Actually, filmed in Cleveland, OH in an old yellow house that has since been turned into a museum, the “Lamp” is still there and can be seen despite having supposedly been broken and buried during the play.

Won by “the Old Man,” the Parker family dad who means well, works hard, battles neighbors’ dogs and is not as smart as his wife, he is excited to receive the lamp as a “Major Award” for a contest he entered and won. To the Old Man, the lamp award redeems his self-worth.

The Parker family, in A Christmas story the Musical at Marriott Theatre (Photo courtesy of Marriott)

More importantly, Marriott has introduced another generation to nine-year-old Ralphie who desperately wants a Red Ryder BB Gun for Christmas. Made by the Daisy company, it is named for a heroic comic strip cowboy.

Ralphie fantasizes how he can stop the terrorizing by bullies Scut Farkus and Grover Dill of him, friends, Flick (of tongue stuck on icy pole fame) and Schwartz and classmates if he had a bb gun that looks like a Winchester rifle.

Set about the early 1940s, warnings by his mom, teacher and the Santa at Higbee’s Department Store that you’ll “shoot your eye out,” would have been a sufficient talking point.

However, given today’s anti-gun legislation and school shootings attributed to bullying, families seeing the show may either object to a bb gun that looks like a rifle or want to take the discussion several steps further.

Directed perfectly by Scott Weinstein as both entertaining and perceptive of family and school dynamics, “A Christmas Story: the Musical” has several funny incidents, excellent character portrayals, terrific dance sequences and wonderful vocals.

Kavon Newman who has appeared on TV and New York’s Radio City stage, is amazing as Ralphie

Local theater veteran Sara Reinecke is the can-do mother the Parker family needs and has a terrific voice. Her role is well matched with that of the Old Man, delightfully portrayed by another local veteran, Lorenzo Ruch, Jr.

Levi Merlo who has a string of TV credits, is adorable as Ralphie’s young brother, Randy. He will likely be remembered by audiences as the kid who couldn’t move his arms or get up because of his ballooning-style snowsuit.

The fun, over-the-top character of teacher Miss Shields was deftly handled by local veteran Jenna Coker-Jones.

Narrator Kevin McKillip as Jean Shepherd (Marriott photo)

A “Christmas Story” is narrated by Kevin McKillip who as Jean Shepherd, reminisces as he somewhat relates to each scene and experience as a much older, adult Ralphie.

After seeing a very strong Marriott production of “Sound of Music” with a terrific cast of child actors, I was not surprised by the high quality of the “Kids” ensemble that appeared in several sequences.

Which brings us to Tiffany Krause’s choreography. Marriott typically has superb dance numbers. But they are usually performed by the main characters backed by a dance ensemble. In “a Christmas Story,” it’s the talented Kids and Ralphie who primarily take center stage.

That is except for Rush, Jr’s exuberant dance celebration of “A Major Award” and talented song and dance actor Jackson Evans delights audiences in the second act as the Higbee’s department stores’ disgruntled Santa Clause in “Up on Santa’s Lap.”

A shout out has to go to costume designer Izumi Inaba for setting the period and mood.

Details: “A Christmas Story: the Musical,” is at Marriott Theatre at 10 Marriott Dr. Lincolnshire, off Milwaukee Avenue just south of Rt. 22, through Jan. 1, 2023. For tickets and more information visit www.marriotttheatre.com or call (847)- 634-0200.

Note: A Christmas Story Christmas begins streaming Nov. 17 on HBO Max with Peter Billingsley reprising his Ralphie, who is now an adult, a struggling writer and the head of the Parker household.

Jodie Jacobs

For more shows visit Theatre in Chicago

Xanadu is a relaxing trip to nowhere.

Xanadu an audio play by Theater in the Dark — Xanadu an audio play by Theater in the
Dark

Somewhat Recommended

2 Stars

Skillfully presented, this streaming audio play “A murder in the court of Xanadu” presented by A Theater in the Dark is a jumble of characters and events that in the end I simply did not care about.

I truthfully cannot give you a synopsis of this play. I enjoyed listening to it but ultimately do not understand anyone’s motivation for doing whatever they did and am not sure why it was interesting or important.

It was kind of like listening to a Chinese opera. I do not speak Chinese but I might walk away understanding that someone was rich, someone was a conniving trusted advisor, someone got killed, and in the end, someone got something of value that maybe was surprising and undeserved. But I could not catch the details. In the meantime, it was oddly enjoyable to listen to because the vocal tones and rhythm of the presentation with its evocative incidental music was pleasing.

The place of Xanadu is known to most of us a symbol of utopian excess perhaps best remembered from the Samuel Coleridge poem of the same name. In fact, as a result of a recent Jeopardy question on the popular TV game show, I was able to immediately recall the opening words “In Xanadu did Kubla Khan
A stately pleasure-dome decree,” though I have no recollection of ever reading the entire poem.

We might also be familiar with “Xanadu” as the name of the mansion in the well know movie “Citizen Kane.” In this case I can tell you that Kane was a Khan-like business ruler with a strong desire for beauty and excessive wealth. I know this because I learned as much through the storyline. The story of Citizen Kane challenges us to try to understand the motivation behind the main character’s actions.

In “A murder in the court of Xanadu” we are basically told, though a narrator, who the characters are rather than have them reveal themselves to us. There is no discernible mystery to unravel and no reason to be interested in the fates of a number of greedy self-centered individuals who do not seem to have derived their wealth or status through any particular talent or ability of their own.

The standout performance for me was Erin Lin as Marla who acts as a kind of narrator. Her voice was clear, expressive and well modulated with a kind of musical quality. I would be happy to listen to her read or recite virtually anything.

The theater’s website suggests that the character of Marla is inspired by Marco Polo who incidentally provided the earliest description of the Khan’s pleasure retreat. However, this relationship is totally lost to the uninformed listener, and one or two periodic allusions to Venice in my mind only added to the confusion. I feel strongly that a theatergoer should not have to bring any previous knowledge to the experience in order to understand the action.

Nessa Amherst as Marigold provided nearly all of the much needed auditory contrast, providing a kind of comic quality and strong characterization.

I felt that all of the male actors including Robinson J. Cyprian (Kane), Van Ferro (An Actor Who Plays Many Parts), and Gabriel Fries (Ahmad) understood what they were saying (even if I did not), delivering their lines with conviction. I would have enjoyed more vocal variety between the three of them and a little more resonance from Cyprian who I remember gave us more vocal depth in his performance of Ahab in the company’s performance of “Moby Dick.”

If there is any fault to be assigned it belongs to the author Cory Bradberry who has demonstrated through his previous works a real ability and commitment to this genre. That said, this is not a disaster but rather a miss. Perhaps with a bit more work and revision he can overcome whatever it is that is lacking.

Bradberry does partially cover his tracks through his exceptional direction. The performance does have an overall lyrical quality and pleasing tone that is enhanced through just enough foley work to provide some needed ambiance with a very enjoyable use of an original musical score by Paul Sottnik.

DETAILS: “A murder in the court of Xanadu” presented by A Theater in the Dark is available for streaming beginning November 3, 2022 at www.atheaterinthedark.com Runtime is about 90 minutes.

Reno Lovison

For more shows visit Theatre in Chicago