Displaying items by tag: Khaki Pixley

A gentle, tide‑easy current settles in right from the start, immediately signaling the kind of story this musical wants to tell. Rather than relying on big, splashy moments, it settles into a warm, beach-side rhythm, inviting the audience into a world where the pace is slower, the mood is lighter, and the soundtrack does most of the lifting. It’s a straightforward setup that frames the show’s island‑styled escapism - and Jimmy Buffett fans, the devoted Parrotheads, are the ones most likely to find the deepest enjoyment in the sunny, good‑natured spirit of Escape to Margaritaville, now playing at North Shore Center for the Performing Arts in Skokie.

The plot is about as simplistic as it gets, and the musical makes no attempt to complicate it - and wisely doesn’t try. This is a tropical resort fantasy through and through. Greg Garcia and Mike O’Malley’s book embraces the unhurried appeal of Jimmy Buffett’s catalog, following Tully, an unassuming island singer who’s perfected the art of keeping life simple. His routine of strumming for tourists and dodging commitment gets disrupted when Rachel, a driven, no‑nonsense researcher collecting soil samples for her environmental research, arrives with no interest in island romance. Their unlikely connection sets off a laid‑back, free‑wheeling story about unwinding, taking risks, and discovering that paradise has more to do with perspective than palm trees.

Music Theater Works’ production, directed and choreographed by Brenda Didier with co-direction from Sarafina Vecchio and choreography support from Clayton Cross, embraces the show’s escapist spirit with bright staging and a playful sense of fun. Linda Madonia’s music direction anchors the evening from above, leading a band perched atop the set and sending out a steady stream of easy-going, gentle sound. The placement and style add to the show’s illusion of an oceanfront getaway, as if the music itself were drifting in from somewhere just beyond the shoreline. The plot may be light, but that’s the point - this is a feel good, cocktail in hand comedy where the stakes are low, the energy is high, and the journey is as mellow as the island wind the characters keep singing about.

(L to R) Kate McQuillan and Brian Acker in JIMMY BUFFETT’S ESCAPE TO MARGARITAVILLE. Photos by Brett Beiner Photography.

Brian Acker brings a loose, sun-warmed charm to Tully, giving the beach-town, guitar-slinging singer enough sincerity to keep the character from drifting into pure caricature. His vocals land with clarity and confidence, especially in Buffett staples like “Margaritaville,” where he captures the relaxed swagger that defines the show’s tone. He’s immediately likable and effortlessly engaging. Acker’s performance makes Tully feel like the steady breeze that holds the spirit of the musical, and he dives into the character’s aesthetic with full commitment. He’s the quintessential casual beach guy - flip flops, baggy shorts, feathered hair, and a Hawaiian shirt that looks like it’s logged more sunsets than most vacationers.

Kate McQuillan’s Rachel is a sharp, engaging counterbalance, grounding the story with her focused energy and bright, assured voice. She shines in numbers like “It’s My Job” and “Fins,” bringing humor and heart to a character who could easily be played too straight. Together, Acker and McQuillan create an appealing opposites attract dynamic, especially in their duet “Coast of Marseilles,” where their voices blend with an ease that makes their connection feel genuine.

If Rachel is heading to a coastal destination for work, it makes perfect sense that she’d bring her best friend, Tammy along for the ride. Khaki Pixley’s Tammy is one of the production’s brightest assets, delivering buoyant humor with razor-sharp timing and a sweet, outgoing personality that consistently lifts every scene she enters. Her reactions, comedic beats, expressive voice, and kind presence land so well that her arc quickly becomes one of the show’s most enjoyable threads. When Chase Grabowski’s Brick (local bartender) eventually joins her storyline, his endearing, slightly hapless charm pairs beautifully with Pixley’s energy, giving their subplot an energetic, goofy momentum that often feels more engaging than the central romance.

The humor in Escape to Margaritaville often lands on the simpler side - broad, predictable, and occasionally so contrived that a few jokes slip past without much impact. It’s not unexpected, though. This is a Jukebox musical built from Jimmy Buffett’s sun-drenched catalog, and the story exists mostly as a loose framework for beach living, easy flirtations, and the reminder to stop taking life so seriously. The show rarely aims beyond that, and for many theatergoers, it doesn’t need to. Buffett fans in particular seemed fully dialed in; several audience members chimed in word for word when prompted, and a few even jumped in unprompted, turning certain moments into an impromptu Parrothead sing-along. It’s clear the musical resonates most with those already attuned to Buffett’s drifting tunes. And that connection wasn’t limited to the songs themselves.

And while the music is plentiful, a few musical numbers stand out more than others, especially when the show leans into its unapologetic silliness. “Why Don’t We Get Drunk & Screw” becomes a cheeky ensemble hand off, passed around with just enough sly irreverence to keep the moment playful rather than crude. “Cheeseburger in Paradise” delivers the burst of high spirited, indulgent fun audiences expect, and it also marks a personal breakthrough for Tammy, who finally lets herself enjoy something without the undeserved guilt her controlling fiancé has inflicted upon her. These numbers aren’t subtle, but they’re performed with a knowing grin - and they capture the musical’s willingness to jump into the louder, lighter corners of Buffett’s catalog.

Music Theater Works surrounds its leads with a spirited supporting cast that keeps the wave-easy antics humming. Tamara Batiest’s Marley offers strong vocals, grounded wit and a steady presence at the resort, providing a nice balance to the show’s more free-wheeling characters. Brian James’ J.D. brings an unforced, confident energy whenever he appears, adding texture without pushing beyond what the material calls for. The full ensemble delivers solid work throughout, particularly in the larger song and dance numbers, where their precision and coordination give the production some of its cleanest moments. Together, they help shape a world that feels carefree, lightly free-flowing, and appropriately tuned to Margaritaville’s unhurried atmosphere.

(center) Khaki Pixley with members of the cast in JIMMY BUFFETT’S ESCAPE TO MARGARITAVILLE from Music Theater Works.

Bob Knuth’s scenic design instantly drops the audience into a daylight‑washed island resort, complete with weathered wood, bright, beach‑toned colors, and the kind of relaxed bar setup that practically begs for a frozen drink. It’s the classic Margaritaville environment: part seaside hangout, part vacation fantasy, and just spirited enough to feel genuinely alive. Ab Rieve adds personality throughout with props that make the space feel lived‑in - cocktail blenders, beach gear, and all the little touches that sell the idea of a resort where anything can (and usually does) happen. Clare McKellaston’s costumes keep the surf-side energy high, dressing the cast in vibrant prints, light‑spirited resort wear, and vacation‑ready looks that pop under the lights, while Kristen Brinati ensures every wardrobe detail stays crisp from scene to scene. I truly enjoyed the set, which effectively transported the audience into the moment and grounded the shore-soft atmosphere. The production team does a fine job in building a getaway that feels like a ticketed trip to paradise.

October in Chicago has a way of nudging everyone indoors - gray skies, damp sidewalks, and that first hint of winter settling in. All the more reason to duck into a theater and spend a couple of hours somewhere warmer, brighter, and blissfully carefree. Escape to Margaritaville offers exactly that: a coastal reset button when the city insists on being chilly and unpredictable.

When Escape to Margaritaville made its pre-Broadway stop at the Oriental Theatre in 2018, I was tucked into a rear seat when a persistent glow kept flickering to my right. Someone was typing away on their phone mid show, pausing every so often to chat with the person beside him like he was running a private commentary track. After a few minutes, I leaned over and politely asked if he wouldn’t mind putting his phone away. He looked up, and I told him I was reviewing the show for Jimmy Buffett. Without missing a beat, he smiled and said, “I am Jimmy Buffett.” He was taking notes, whispering observations, and generally behaving like a man watching his own musical while conducting field research. Only Jimmy Buffett could turn mid-show multitasking into part of the entertainment.

He laughed, I laughed, and he explained he was jotting down notes on the show and the audience’s reactions. After the curtain call, we chatted, and in true Buffett fashion, he casually invited me to the post‑performance reception. It was the kind of easy, friendly gesture one wouldn’t necessarily expect from a major star - unless it was Jimmy Buffett. Jimmy was actually a little shy surrounded by his Parrotheads at the packed, island‑themed afterparty, until I invited him to join the celebration and led him by the hand into a circle of fans dancing to “Cheeseburger in Paradise.” He danced for some time, and while doing so, he beamed at me from the center of that exuberant moment, delighted in a way that felt almost childlike.

I didn’t realize at the time how much that passing exchange would matter. After his passing in 2023, I smiled to myself at the memory of how touching and important our chance encounter in the back of his theater premier really was. 

In staging Escape to Margaritaville, Music Theater Works pays genuine tribute to Jimmy Buffett’s legacy, channeling the warmth, playfulness, and island‑spirited generosity that defined both his music and the man himself. At two hours and twenty minutes (including intermission), the Buffett musical is a light, good-natured escape that provides an unruffled evening - an inviting couple of hours of coastal fun.  

Recommended.

Escape to Margaritaville runs through November 1^st at North Shore Center for the Performing Arts. For tickets and/or more show information, click here.

Unlike many of the shows I review, which I’ve often seen in other productions elsewhere, I went into Music Theater Works’ current production of Legally Blonde blind. Other than the couple-decades-old movie the musical is based on, along with a covid-era TikTok fascination that my daughters had with a particular song from the show, I knew nothing about it. That’s always kind of refreshing, isn’t it?

Well, I went into the North Shore Center—always an enjoyable place to see a show—pretty much clueless and I left entertained.

You can tell director Mandy Modic has a real knowledge of, and love of, the source material and the show. Everything is thoughtfully laid out and beautifully executed. This is a put together show, just like the main character, Elle Woods.

Kayla Shipman, starring as Elle, has high heels to fill but she fills them well. As Elle grows and learns about herself, Shipman’s performance becomes more confident and assertive as the show progresses, making this the Y2K roman a clef the story calls for. The supporting cast sings, dances, and acts as Elle takes her journey—filling the show with the memorable people she meets. Korey White looms over proceedings as authoritative and suspect Professor Callahan. Amanda Handegan’s fitness-queen-turned-accused-murderess Brooke Wyndam brings us back to the days of the aerobics DVDs she’s shilling—before launching the show’s uproarious second act with an orange-is-the-new-black prison jump rope number. And Khaki Pixley’s hairdresser Paulette Buonofonte takes us to a whole other world every time we enter her salon, a realer world far from snooty tweed higher education or Greek life.

Each of the worlds we enter in this show are beautifully created by Scenic Director Shane Cinal. From Elle’s sorority house to the hallowed halls of Harvard to Paulette’s beauty parlor, each set pops visually and transports the audience.

But, like many good shows, it’s the ensemble that makes this one. Each and every member of this cast gives it their all. From sorority sister singalongs to a Greek chorus, from folks getting perms to a courtroom full of plot twists, the ensemble created each scene and populated it with movement, humor, talented vocals, and humanity. And each member received their moment to make the audience hoot and holler—with Isaiah Engram’s deliveryman Kyle getting the most hoots.

The movement of the show is thanks to the ensemble’s talent, but also features wonderful choreography by Mollyanne Nunn—she puts all of this talent to work in dance after dance and showtune after showtune, filling the stage and catching our eyes from every part of it.

Oh, and that TikTok song I mentioned before? That’s here, too. Morgan Schoenecker leads Elle and the ensemble through the “Bend and Snap,” and the number hasn’t lost any of its charm—for the audience or for the aforementioned daughter who was watching Legally Blonde with me.

Like other shows I’ve seen at Skokie’s North Shore Center, this was a thoroughly enjoyable production. Music Theater Works and Mandy Modic take their audience back two decades to tell us a timeless tale, one you’ll find in Legally Blonde, playing now until December 29.