Displaying items by tag: CHUCK SMITH

Nearly 30 years after its box-office-record-setting 1997 Chicago premiere production, August Wilson's Ma Rainey's Black Bottom returns to The Goodman, helmed by Chicago legends Chuck Smith (Director) and Harry J. Lennix (Associate/Music Director). Get a peek into the rehearsal room of Smith's all-Chicago cast, including E. Faye Butler (Fat Ham), Al'Jaleel McGhee (Revolution(s)), Scott Aiello (Chicago Shakespeare Theatre's Hamlet), David Alan Anderson (Writers Theatre's Stick Fly), Matt DeCaro (The Cherry Orchard), Marc Grapey (The Iceman Cometh), Tiffany Renee Johnson (Holiday), Jabari Khaliq (Toni Stone), Kelvin Rostin Jr. (Gem of the Ocean) and Cedric Young (Inherit the Wind). Understudies include Wydetta Carter (Court Theatre's Porgy and Bess), Robert Cornelius (Lottery Day), Isis Elizabeth (Paramount Theatre's Brighter Future), Patrick Newson Jr. (BUST), Joseph Primes (BUST) and Ron E. Rains (Holiday). Special events related to the production include Ma Rainey's Black Affinity Night (April 10) and College Night (April 22). More details below. Ma Rainey's Black Bottom appears March 28 through April 26 in the 856-seat Albert Theatre; opening night is April 6. For tickets ($34-$104, subject to change), visit the Box Office (170 N. Dearborn), call 312.443.3800 or visit GoodmanTheatre.org/MaRaineys. The Goodman is grateful for the support of Allstate Insurance Company (Lead Corporate Sponsor), The Elizabeth Morse Charitable Trust (Lead Sponsor of IDEAA Programming), The National Endowment for the Arts (Production Support), PAXXUS (Corporate Sponsor Partner) and WBEZ Chicago (Media Sponsor).

"When The Goodman was in the process of producing all ten plays in the August Wilson cycle for the first time, I had the opportunity to direct only one—Ma Rainey's Black Bottom, featuring Harry Lennix as Levee. Now, I've got Harry as Music Director and sound designers Rob Milburn and Michael Bodeen with me to do it again," said Goodman Family Resident Director Chuck Smith, who directed The Goodman's acclaimed 1997 production. "One person I miss having in the room is August Wilson, who was there in 1997. His work and advice led to the creation of a very special production that set a box office record at that time. I know we will all work to make something like that happen again. I'm feeling very good about what's happening here already!"

"There are few legacies in American theater that rival Chuck Smith's. Actor, educator, theater founder, director—Chuck has spent decades enriching the theater scene in Chicago and beyond," said Walter Artistic Director Susan V. Booth. "And while his repertoire as a director is wide, it is when he takes on the work of another legend—August Wilson—that the measure of his impact is most deeply felt. To have him revisit this seminal Chicago work in our theater's Centennial Season feels right in every way."

It's 1927 Chicago, and Ma Rainey (E. Faye Butler), "The Mother of the Blues," takes her time getting ready to record. Tensions and temperatures rise as the musicians recount tales of rage, joy, betrayal and faith in astonishing stories and a heart-stopping climax. Chicago legends Chuck Smith and Harry J. Lennix reunite to make magic again with a "genuine American masterpiece" (Chicago Reader).

SPECIAL EVENTS

Ma Rainey's Black Affinity Night
April 10 | 6pm
Tickets: $50 (event + show admission)

This pre-show event is designed for those who identify as Black and offers a unique opportunity to explore the cultural roots and musical legacy that shaped the 1920s—and beyond. The evening will feature a Live DJ Set and conversation with Rae Taylor (DJ Rae Chardonnay), the 2025 DJ Scholar-in-Residence for the Renaissance Project. Use code BLACKAFFINITY when purchasing a ticket for this performance online.

College Night
April 22 | 6pm
Tickets: $13 (reception + show admission)

For less than the price of a movie ticket, college students are invited to experience Ma Rainey's Black Bottom—along with a pre-show reception including all-you-can-eat pizza, soda and a discussion with a member of Goodman's Artistic Team. Use code COLLEGE when purchasing a ticket for this performance online; a valid college ID will be required to pick up tickets at will call.

ABOUT THE ARTISTS

August Wilson (April 27, 1945–October 2, 2005) authored Gem of the Ocean, Joe Turner's Come and Gone, Ma Rainey's Black Bottom, The Piano Lesson, Seven Guitars, Fences, Two Trains Running, Jitney, King Hedley II and Radio Golf. These works explore the heritage and experience of African Americans, decade-by-decade, over the course of the twentieth century. His plays have been produced at regional theaters across the country and all over the world, as well as on Broadway. In 2003, Mr. Wilson made his professional stage debut in his one-man show, How I Learned What I Learned. Mr. Wilson's works garnered many awards including Pulitzer Prizes for Fences (1987)and The Piano Lesson (1990); a Tony Award for Fences; Great Britain's Olivier Aware for Jitney; as well as eight New York Drama Critics Circle Awards for Ma Rainey's Black Bottom, Fences, Joe Turner's Come and Gone, The Piano Lesson, Two Trains Running, Seven Guitars, Jitney and Radio Golf. Additionally, the cast recording of Ma Rainey's Black Bottom received a 1985 Grammy Award, and Mr. Wilson received a 1995 Emmy Award nomination for his screenplay adaptation of The Piano Lesson. Mr. Wilson's early works included the one-act plays The Janitor, Recycle, The Coldest Day of the Year, Malcolm X, The Homecoming and the musical satire Black Bart and the Sacred Hills. Mr. Wilson received many fellowships and awards, including Rockefeller and Guggenheim Fellowships in Playwrighting, The Whiting Writers Award, 2003 Heinz Award, was awarded a 1999 National Humanities Medal by the President of the United States and received numerous honorary degrees from colleges and universities, as well as the only high school diploma ever issued by the Carnegie Library of Pittsburgh. He was an alumnus of New Dramatists, a member of the American Academy of Arts and Sciences, a 1995 inductee into the American Academy of Arts and Letters and on October 16, 2005, Broadway renamed the theater located at 245 West 52nd Street The August Wilson Theatre. Additionally, Mr. Wilson was posthumously inducted into the Theater Hall of Fame in 2007.

Chuck Smith is The Goodman Family Resident Director, Board of Trustees member and resident director at the Westcoast Black Theatre Troupe in Sarasota. Mr. Smith's Goodman credits include Objects in the Mirror, Two Trains Running, Pullman Porter Blues, By the Way, Meet Vera Stark and The Amen Corner, among many others. He also served as dramaturg for the Goodman's world-premiere of August Wilson's Gem of the Ocean. Regionally and locally, he has directed at the Oregon Shakespeare Festival, Milwaukee Repertory Theater, Seattle Repertory Theatre, MPAACT, American Blues, Black Ensemble Theatre, and Congo Square Theatre Company, among others. Mr. Smith is an Emmy Award-winner, a recipient of the Paul Robeson Award and was the 2001 Chicago Tribune Chicagoan of the Year.  

Harry J. Lennix is a distinguished film, television stage actor and producer. He returns to Goodman Theatre following productions of Inherit the Wind, August Wilson's How I Learned What I Learned (produced by Congo Square in association with The Goodman) and Ma Rainey's Black Bottom, directed by Chuck Smith. Recently at Steppenwolf Theatre, he appeared in Purpose. He also appeared in Purpose on Broadway and was Tony-nominated in the Lead Actor in a Play category. He starred for 10 seasons on NBC's The Blacklist. Moviegoers know Lennix from The Justice League, Man of Steel, Batman V. Superman: Dawn of Justice, The Matrix: Reloaded, The Matrix: Revolutions, Ray and The Five Heartbeats. Lennix also recurred for 7 seasons on the Showtime series Billions. Lennix made his Broadway debut in Radio Golf. He has directed A Small Oak Tree Runs Red, The Five Heartbeats and The Glass Menagerie. He has starred in King Hedley II at the Mark Taper Forum and in 2001 he played in Cymbeline for Theatre for a New Audience at the Royal Shakespeare Company. In July 2014, Lennix created Exponent Media Group.

Cast of August Wilson's Ma Rainey's Black Bottom (in alphabetical order)

Directed by Chuck Smith

Associate/Music Director Harry J. Lennix

Scott Aiello...Policeman/US Sturdyvant 
David Alan Anderson...Cutler 
E. Faye Butler...Ma Rainey 
Matt DeCaro...Sturdy 
Marc Grapey...Irvin 
Tiffany Renee Johnson...Dussie Mae 
Jabari Khaliq...Sylvester 
Al'Jaleel McGhee...Levee 
Kelvin Roston Jr....Toledo 
Cedric Young...Slow Drag

Understudies include Wydetta Carter (Ma Rainey), Robert Cornelius (Toledo), Isis Elizabeth (Dussie Mae), Patrick Newson Jr. (Levee/Sylvester), Joseph Primes (Slow Drag/Cutler) and Ron E. Rains (Irvin/Policeman).

CREATIVE TEAM

Co-Sound Designer...Michael Bodeen 
Co-Sound Designer...Rob Milburn 
Costume Designer...Evelyn Danner 
Lighting Designer...Jared Gooding 
Set Designer...Linda Buchanan 
Intimacy and Violence...Greg Geffrard
Vocal Coach...Marie Ramirez Downing
Bass Coach...Anderson Edwards 
Line Producer...Malkia Stampley 
Intimacy and Violence Assistant...Chels Morgan 
Assistant Director...Lo Williams 
Assistant Lighting Designer...Trey Brazeal

Casting is by Lauren Port, CSA. Neena Arndt is the Dramaturg. Angela Adams is the Production Stage Manager. Imani Ross is the Stage Manager.

ENHANCED AND ACCESSIBLE PERFORMANCES

Visit GoodmanTheatre.org/Access for more information about The Goodman's accessibility efforts.

ASL-Interpreted...April 17 at 7:30pm – An ASL interpreter signs the action/text as played. 
Audio-Described...April 18 at 2pm; Touch Tour; 12:30pm – Action audibly enhanced via headset. 
Spanish-Subtitled...April 18 at 7:30pm – Spanish-translated dialogue via LED sign.
Open-Captioned...April 19 at 2pm – LED sign presents dialogue in sync with the performance.

ABOUT THE GOODMAN

Since 1925, The Goodman has been more than a stage. A theatrical home for artists and a gathering space for community, it's where stories come to life—bold in artistry and rich in history, deeply rooted in the city it serves.

Led by Walter Artistic Director Susan V. Booth and Executive Director John Collins, The Goodman sparks conversation, connection and change through new plays, reimagined classics and large-scale musicals. With distinctions including nearly 200 world or American premieres, two Pulitzer Prizes, 22 Tony Awards and nearly 200 Joseph Jefferson Awards, The Goodman is proud to be the first theater to produce all 10 plays of August Wilson's "American Century Cycle." In addition, the theater frequently serves as a production partner—with national and international companies to Chicago's Off-Loop theaters—to help amplify theatrical voices.

But The Goodman believes a more empathetic, more connected Chicago is created one story at a time, and counts as its greatest legacy the community it's built. Generation-spanning productions and programs offer theater for a lifetime; from Theater for the Very Young (plays designed for ages 0-5) to the long-running annual A Christmas Carol, which has introduced new generations to theater over five decades, The Goodman is committed to being an asset for all of Chicago. Education and Engagement programs led by Clifford Director of Education and Engagement Jared Bellot and housed in the Alice Rapoport Center use the tools of theater to spark imagination, reflection and belonging. Each year, these programs reach thousands of people (85% from underserved communities) as well as educators, artists and lifelong learners across the city.

The Goodman stands on the unceded homelands of the Council of the Three Fires—the Ojibwe, Odawa, and Potawatomi Nations—and acknowledges the many other Nations for whom this land now called Chicago has long been home, including the Myaamia, Ho-Chunk, Menominee, Sac and Fox, Peoria, Kaskaskia, Wea, Kickapoo, and Mascouten. The Goodman is proud to partner with the Gichigamiin Indigenous Nations Museum (Gichigamiin-Museum.org) and the Center for Native Futures (CenterForNativeFutures.org)—organizations devoted to honoring Indigenous stories, preserving cultural memory, and deepening public understanding.

The Goodman was founded by William O. Goodman and his family to honor the memory of Kenneth Sawyer Goodman—a visionary playwright whose bold ideas helped shape Chicago's early cultural renaissance. That spirit of creativity and generosity endures today. In 2000, through the commitment of Mr. Goodman's descendants—Albert Ivar Goodman and his late mother, Edith-Marie Appleton—The Goodman opened the doors to its current home in the heart of the Loop.

Marsha Cruzan is Chair of the Goodman Theatre Board of Trustees; Diane Landgren is Women's Board President; and Kelli Garcia is president of the Scenemakers Board for Young Professionals. 

Director Chuck Smith returns to Goodman with another major August Wilson revival–“Joe Turner’s Come and Gone”. This is the second play in Wilson’s 10-play “American Century Cycle”. Goodman produced the first play in the series, “Gem of the Ocean” in 2022 as well as “Two Trains Running” in 2015. Both directed by Chuck Smith. Returning also is A.C. Smith, a staple of any August Wilson production in Chicago.

“Joe Turner’s Come and Gone” takes place in 1911, in Pittsburgh, where most of August Wilson’s work is set. Staged in a boarding house respectably kept by Seth (Dexter Zollicoffer) and Betha (TayLar) Holly, where their regular lodgers Bynum Walker (Tim Rhoze) and Jeremy Furlow (Anthony Flemming III) keep them busy. When a mysterious man and his young daughter arrive looking for a room strange things begin happening.

Wilson has a gift for turning vernacular into poetry. His world-weary characters speak with a sort of casual beauty that rivals Tennessee Williams. That much is never clearer than when Molly Cunningham saunters into the boarding house. Krystel V McNeil captivates as Molly, delivering every line with seductive authority. The purpose of her character is somewhat ambiguous but she’s a welcomed presence nonetheless.

The mysterious man, Herald Loomis, is in search of his wife Martha who is also the mother of this daughter. Bynum and Seth are skeptical but when supernatural things begin happening, a revelation is exposed that calls into question how free the nation really was in the early part of last century.

As always, A.C. Smith’s commanding performance showcases not only a true talent for reinvention, but a deep understanding of August Wilson’s intentions. The chemistry between director Chuck Smith and A.C. Smith is palpable in everything they work on together.

Wilson wrote epics. And this production feels epic. Though there are thematic overlaps in his play cycle, each are distinct masterpieces in themselves. “Joe Turner” like all of Wilson’s plays feels like classic theater. It combines so many elements from lore to magical realism, but on a Goodman-scale backdrop. What a treat it is to see these works produced to impeccable, if not gold standards complete with dream casting.

Thanks to a special relationship between Chuck Smith and August Wilson, Chicago is a mecca for August Wilson’s plays. Between the Court Theater in Hyde Park and Goodman, you’re likely to see all of them if you stay in Chicago long enough. While each has been presented on Broadway at one time or another, his plays aren’t produced nearly as often as they should. Thankfully Denzel Washington is committed to getting each of the plays in the cycle adapted into a film–so far, also to impeccable standards. 

Wilson wrote essential plays that speak for more than just the African American experience, but rather the entire American experience and where it might be headed. Though the last century was full of strife, Wilson finds triumph in every era. His plays certainly don’t shy from the truth, but they always offer a road to hope. 

Through May 19 at Goodman Theatre. 170 N Dearborn. 312-443-3800.

Goodman Theatre’s aptly titled season, Homecoming, kicks off with a revival of August Wilson’s “Gem of the Ocean.” Written just a few years before his death, “Gem of the Ocean” is the first chapter of Wilson’s 10-play 20^th Century “Cycle”. This play was originally produced at Goodman Theatre in 2003. Goodman has produced each of Wilson’s ten plays at least once, with some making their world premiere.  

Despite being a native of Pittsburgh, where his plays are set, August Wilson had a unique relationship with Chicago. Revival director Chuck Smith served as the dramaturg on the original production of “Gem of the Ocean” but formed a working friendship long before then. Since 2005, Chuck Smith has produced two August Wilson festivals.

“Gem of the Ocean” captures the African American experience in the first decade of the 20^th Century. The play centers around mystic Aunt Esther (Lisa Gaye Dixon) and a mysterious drifter named Citizen (Sharif Atkins). Romantic tension blossoms between Citizen and Aunt Esther’s housemaid Black Mary (Sydney Charles).

Wilson follows Citizen’s journey from Reconstruction-era Alabama to Free North Pittsburgh. The play makes a direct parallel between the American immigrant experience and the post-slavery African American experience. Much like Upton Sinclair’s Jurgis, Citizen is tricked at every turn upon arrival in bustling Pittsburgh and he quickly becomes discouraged. He seeks refuge and soul cleansing with Aunt Esther and finds a loyal family.

Performances are humorous and complex. Lisa Gaye Dixon fills the space with her enchanting presence, but it’s Sydney Charles in the meeker role of Black Mary who is equally captivating. Charles has an impressive voice and an ageless sense of vulnerability and humor. The two share a contagious chemistry. It wouldn’t be an August Wilson play in Chicago without A.C. Smith though, his hulking appearance and effortless comedy help maintain August Wilson’s balance.

While “Gem of the Ocean” is about class warfare in the 1900s, its themes of injustice and police brutality are as relevant today. Wilson covers a lot of ground in three hours but the mood never feels overwhelming. In fact, there’s a great deal of whimsy. “Gem of the Ocean” begins this cycle with a deep understanding of the horrors of the slave trade. Wilson deeply felt the plight of free, but somewhat lost African Americans in the century after the civil war. He gets to the heart of the American caste system, and why some people choose to perpetuate it. Though there is darkness, there is so much lightness in the warm exchanges and theatrical staging of this ensemble play.

Through February 27^th at Goodman Theatre. 170 N Dearborn St. (312) 443-3800

From the minute I stepped into Windy City Playhouse’s colorful, elegant the stage area designed by Courtney O’Neill with fantastic lights and sounds by Thomas Dixon, I knew I was in for a treat. 

King Liz is named for the beautiful, sexy and high-powered sports agent Liz Rico played superbly with real gusto and stage presence galore by Lanise Antoine Shelley. 

Liz Rico is a woman who grew up in the projects, overcame great poverty and rose to the top of a male dominated industry. Rico, one of the best sports agents in the business, is about to be promoted to the head of her firm by her retiring boss Mr. Candy (Frank Nall).

Mr. Candy's last offer to her to make her his new head of firm is based on her ability to sign a new and talented high school basketball player Freddie Luna (Eric Gerard). Luna is a true talent likened to Kobe Bryant but comes with a history of violence and temper tantrums as he too has been brought up in the projects and was doing his best to survive as he knew how. 

Eric Gerard is also great in his role, showing how deeply he feels about needing to escape his checkered past and the projects by riding his basketball gifts into the big time. Gerard also plays the role well in that the audience sees and feels great compassion for him as he uses his limited social skills to try and fit into the fast-paced media swirl he is placed in, sometimes causing his own downfall, his sometimes feral temper getting the best of him. Though Luna can often be charming and polite, prying journalists after the next big sports story target his unbridled emotions and get the best of him when digging into his past that he so desperately wants to put behind him.

Gabby (Jackie Alamillo) is Liz Rico’s assistant and though grateful for her highly valued mentorship has been made to "eat crow" so many times, every day at work, by Liz. Gabby is also eager for Liz to get the promotion, if only because she will then fill Rico’s job. Alamillo is perfect as the once meek but now hardened assistant who has given up everything including her own sense of self-worth at times in order to succeed in this male dominated field. 

In the meantime, Knick’s Coach Jones does his best with Luna hoping this new prodigy will cement his long time career. Coach Jones, played with great compassion of soul and accuracy by Phillip Edward Van Lear, really drives the play’s message home and is totally believable in the role of a big league coach who also has been beaten down somewhat by an industry which cares more about profit margins than human lives and protecting the players who make the game possible.  

We learn along the way that "King Liz" had a sexual relationship with the coach in the past when over dinner he states he “would like to make love to her again”, that “she needs affection” and "was making animal sounds" the last time they were together but Liz will only accept his offer if he realizes she wants no commitment involved or even romance. 

Liz, over the course of the show, begins to realize that she has isolated herself from the world of love and relationships for so long that even though she is rich and on all the most important people lists like Forbes Fortune 500, she has also given up her chances to have children and a husband among other things and is faced with the biggest decision of her life to try and salvage her soul and dignity as a human being.

The play is delivered fast and furiously with many exciting twists and turns and light and scene design changes. It reminded me of the film “Draft Day” starring Kevin Costner that shows just how much constant pressure and money is riding on these agents and their young, often inexperienced and naive clients – the promises made and the slugfests that occur between agencies and teams to sign elite talent. We learn how much athlete image control weighs into a successful sports career for those that have a hard time staying out of trouble.

King Liz is also the story of two completely different paths taken from two people, both African Americans, who grew up in the same projects. Ambitious, disciplined and determined, Liz carved a trail for herself to succeed in the business world by obtaining a Yale education and learning the social graces and toughness that positions herself to rise up the corporate ladder. She’s hard-nosed and no-nonsense and does not make excuses. At the same time, Luna, though mega-talented, struggles to mature or find a sense of responsibility. He blows up with little provocation and misses key business appointments to go shopping with his friends. We want so desperately to shake him and say, “Wake up! You have been given a golden opportunity to shine and become an example to others.”

Lanise Antoine Shelly is a powerhouse as Liz Rico and is surrounded by an impressive cast in this fast-paced, knockout punch production. I highly recommend Fernanda Coppel’s King Liz, directed with real style and exciting action and catharsis by Chuck Smith.

King Liz is being performed at Windy City Playhouse. For tickets visit www.WindyCityPlayhouse.com.