Displaying items by tag: Liz Chidester

Over the years, I’ve seen a lot of theater and a lot of musical performances. And because of that, people regularly ask what the best show I’ve seen is. Without hesitation, I tell them it was the 2018 Jeff Award-winning production of The Buddy Holly Story at American Blues Theater.

So, when I took my seat for American Blues Theater’s current production of Always…Patsy Cline and opened my program, I was thrilled to see many of the same names I remembered from the Buddy Holly cast and orchestra. And when I looked to my right, I was even more thrilled to see Michael Mahler - the musical director of the Buddy Holly show - seated just down the row, as he’s filling the same role with this show. I knew right then I was in for a night of good music.

Scenic designer Tara A. Houston’s bandstand - this was my first time attending a show at the theater’s Lincoln Avenue digs, which I found to be a really inviting venue - seconded the promise of a good time with its upright piano, upright bass, and lone classic silver Shure microphone just waiting for words to be sung to it. I was so excited for the music that I hardly noticed the rest of Houston’s set - a quaint mid-century kitchen tucked off to the side.

Because that’s the thing… I got to Always…Patsy Cline thinking I was just going to see yet another jukebox musical, albeit one done really well. But with this show, the audience gets a whole lot more than a standard IRL biopic.

Yes, it begins with Liz Chidester waltzing up to that Shure mic and singing into it about being back in her baby’s arms, of going out walking after midnight, of falling to pieces, and of being crazy for feeling so blue. Chidester nails Cline’s look - thanks in no small part to gorgeous costume design by Lily Walls which transports us back to the middle of the 20^th century one chic outfit at a time. And Chidester’s got a wonderful voice that gets to the places Cline’s voice got to, while mimicking that magical warmth and sheen that recordings of that era lent a vocalist. Yes, she makes a fine Patsy Cline.

And yes, the band is killer. Ian Paul Custer conducts while also adding Floyd Cramer-esque flourishes on the piano. Lior Shragg provides more than twenty musical numbers with their steady beat (and his beat-keeping becomes a plot point), joined in the rhythm section by versatile bassist, Marc Edelstein. Lauren Vogel’s fiddle goes from heartbreak to hoedown. And guitarist Nilko Andreas’ Fender Stratocaster approximates the whines of a lap steel one moment before slipping into more stately countrypolitan accompaniment.

Yes, if you go see Always…Patsy Cline simply for an overly generous and expertly played evening of deep cuts (I’d forgotten all about “Three Cigarettes in an Ashtray,” but it was a highlight) and country classics (Chidester’s dreamy vocals carried me off as she harkened the Nile and “old Algiers”), you will get way more than your money’s worth.

But while all of this is going on - while Chidester and her band are transporting us with song after song - this show is also not just another jukebox musical. Instead, it looks at how those singular talents worthy of their own musical affect us, the audience.

That role - of fan, of the one experiencing the music and being transported by the artist - is played onstage by the second member of this two-woman cast. Molly Hernandez - who played Buddy Holly’s wife and muse Maria Elena in not just the 2018 production I so loved but in a more recent Marriott Theatre production of the same, and who’s graced many other stages around Chicago in the years since - plays Louise, a hilarious, hard-drinking, fast-talking, all-heart Texas gal who just loves the records by this Patsy Cline. She loves those records so much, in fact, it leads to a one-night friendship and a lifelong (not long enough, sadly) pen-pal relationship between the two women. While her character’s name isn’t on the marquee, Hernandez is the show’s MVP. She’s the narrator. She’s the heart. And she’s a real hoot - strutting and sassing and boot-scooting all over the place, giving the show a real-world grounding that even the best shows about famous people can’t provide.

What was so unexpected about Always…Patsy Cline is that it understands something most jukebox musicals miss entirely (even the one at the top of my list!): the songs aren’t really the story. The people carrying them around in their hearts are. Director Harmony France gives us the larger-than-life Patsy Cline we paid to see by looking at her through the eyes of one of the millions spinning her records on their turntable.

And that’s what’s still sticking with me… Yes, I’ll remember Chidester’s velvety vocals, Hernandez’s comic and dramatic talent, and again, a killer country-and-western band. But mostly I’ll remember Always…Patsy Cline as less of a biopic than a love letter: to fandom, to friendship, to old country songs, and to the artists whose voices keep reaching across decades to soundtrack our lives. American Blues Theater has done it again with Always…Patsy Cline, running now through June 7.

American Blues Theater, under the continued leadership of Executive Artistic Director Gwendolyn Whiteside, concludes its 40^th anniversary season with the hit jukebox musical Always...Patsy Cline created by Ted Swindley, with band and vocal orchestrations by August Eriksmoen and Tony Migliore. The production is directed by Harmony France, with music direction by Ensemble Member Michael Mahler. Always...Patsy Cline runs May 1 – June 7, 2026, at American Blues Theater at 5627 N Lincoln Ave, Chicago. 

This musical play, complete with down home country humor and big-hearted emotion, includes hits "Crazy", "I Fall to Pieces", "Sweet Dreams", "Walkin' After Midnight" and more! Starring Ensemble member and award winner Liz Chidester as Patsy Cline and featuring guest artist Molly Hernández as Louise.

Tickets, priced $34.50-$64.50, are on sale now the American Blues Theater box office, online at www.americanbluestheater.com, or by phone at (773) 654-3103.

Always...Patsy Cline

Created by: Ted Swindley

Band & Vocal Orchestrations by: August Eriksmoen & Tony Migliore

Directed by: Harmony France

Music Direction by: Ensemble Member Michael Mahler

Featuring: American Blues Theater Ensemble member Liz Chidester as Patsy Cline and Molly Hernández as Louise.

Dates: May 1 – June 7, 2026

Schedule:                   

Wednesdays: 2:00 PM (except May 6); 7:30 PM (May 6 only)
Thursdays: 7:30 PM
Fridays: 7:30 PM (except May 8 @ 7:00 PM)
Saturdays: 3:00 PM (May 16 & May 30 only); 7:30 PM (May 2, 9 & 23, June 6)

Sundays: 2:30 PM

Location: American Blues Theater, 5627 N Lincoln Ave, Chicago

Ticket prices: $34.50 - $64.50 (no hidden fees)

Box office: Buy online at www.americanbluestheater.com or by calling (773) 654-3103.

Special Access Events

Tickets: $34.50 – call theater for special rate

Touch Tour: Sunday, May 31 at 1:30 PM
Audio Described Performance: Sunday, May 31 at 2:30 PM
American Sign Language-Interpreted Performance: Friday, May 22 at 7:30 PM

American Blues Theater is excited to offer audiences even more ways to engage with artists, neighbors and the larger community through its two programs The Commons and @Home Accessibility Series.

The Commons features readings, live concerts, open mics, game nights, town halls and more at American Blues. The @Home Accessibility Series features readings, live concerts, and town halls from the comfort of home via Zoom. For the most up-to-date programming schedule or to purchase tickets, visit www.americanbluestheater.com. Additional programming will be announced throughout the season.

About American Blues Theater

Winner of the prestigious National Theatre Company Award from American Theatre Wing (Tony Awards). American Blues Theater is an Ensemble of artists committed to producing new and classic diverse stories that ask the question: "What does it mean to be American?"

The diverse and multi-generational artists have established the second-oldest professional Ensemble theater in Chicago. As of 2025, the theater and artists received 246 Joseph Jefferson Awards and nominations that celebrate excellence in Chicago theater and 44 Black Theatre Alliance Awards. The artists are honored with Tony Award and Pulitzer Prize nominations, Academy Awards, Golden Globe Awards, Emmy Awards and numerous other accolades.  

It only takes a few moments into Lizzie’s opening number that audience members realize they are in for quite the unusual theatre experience. Haunting, yet beautiful, the creepiness quickly sets in as Lizzie’s four Victorian-clad characters solemnly sing the tale of the infamous Lizzie Borden who was accused of butchering her father and stepmother in August of 1892.

Lizzie Borden took an axe
And gave her mother forty whacks.
When she saw what she had done,
She gave her father forty-one.

Based on true accounts of the double murder that took place in Fall River, Massachusetts, the grim tale reimagined by Steven Cheslik-deMeyer and Tim Maner is told by Lizzie, her sister Emma, her neighbor Alice and the family’s maid, Bridget. Presented by Firebrand Theatre, whose claim is that of being the first feminist musical theatre company, Lizzie is a detailed account of the legendary crime that is one of the most talked about grisly murders in our Nation’s history.

Firebrand hits a homerun with their first ever production by delivering a deliciously enticing story that engrosses from beginning to end thanks to its strong acting performances and punchy soundtrack that is both powerful and, when called for, dreamlike.

The play offers great insight to Lizzie herself and speculates the heinous crime may have been prodded by the home’s maid while also suggesting she may have been lovers with her neighbor Alice. Liz Chidester is Lizzie Borden and dominates in the role. Chidester so well captures the essence of a girl who loses her grip on reality after years of being abused by her father and is subjected to a newly introduced stepmother who has manipulated her way into inheriting the family wealth.

Ingeniously directed by Victoria Bussert, Lizzie is stacked with commanding performances. Leah Davis fiercely takes the reigns as the mischievous housemaid Bridget, injecting well-timed humor and velvety smooth vocals that make her character a powerhouse. Camille Robinson as Emma and Jacquelyne Jones as Alice round out what makes for an excellent cast. Our four characters deliver amazing vocal performances, each as unique as the other while smartly straying from the standard Broadway-esque sounds we are used to hearing in so many big musicals. No. These women truly rock. 

Instead we get a conceptual rock concert. Hypnotic, sexy and plot-rich, Lizzie is presented by a female-fronted rock group heading a talented band that sits rear stage. As engrossing as the music is the show’s often pithy dialogue exchanges, it’s costumes and creative effects (hint - ponchos are available for those who choose to sit in the first row).

Lizzie is a fun show that has it all – murder, treachery, sex and scorching music.

It is with high recommendation that I urge theatre lovers to see the story of Lizzie Borden that is presented in the most imaginative way. If such a brilliantly inventive production such as Lizzie is an example of what Firebrand has in store for theatre goers in the future, we can only look forward to what the young theatre company will bring us next time around.

Lizzie is being performed at The Den Theatre through December 17th. For tickets and/or more show information visit www.firebrandtheatre.org.

*Now extended January 3rd-14th with Broadway's Ciara Renee joining the production.