Displaying items by tag: James M Nederlander Theatre

While I’ve read the books and seen the movies, I’ve always stood on the outside of the world of Harry Potter. And honestly, I’ve always been a little bit envious of that world—and those who have embraced it and understand it and love it. There were plenty of those folks in attendance at the James Nederlander Theatre on Thursday night for the opening of the Broadway in Chicago production of Harry Potter and the Cursed Child, but there were also plenty of folks like me—outsiders to the world of wizarding and whatnot.

But this show was made to be enjoyed and appreciated by all—the hardcore fans and those of us who just enjoy a good story, good theater, and a really great production.

What began as two productions, in the days before the pandemic, was “shortened” into one play (yes, this is a play, not a musical) after live theater returned. It’s lengthy—three hours, with a twenty-minute intermission between its two acts—but it does what the books and movies did, immersing and losing its audience into its world so time seems to stand still.

The world we find ourselves in is 19 years past end of the final Harry Potter book. Written by Jack Thorne—based on a story by Thorne, director John Tiffany, and J.K. Rowling—this is an original story, featuring the books’ and films’ beloved characters—and new characters, too, as well as stage versions of the Hogwarts world.

John Tiffany, whose 2016 London production of the play began its run, directs this production, as well, and it is magic. Like, actual magic. There are sparks and flames and levitation and disappearances—all of the magic that your mind could conjure while reading a novel or your eyes could be tricked into believing by Hollywood’s CGI. But seeing these illusions happen in person, onstage, in real life is the true draw of this show. I’ve seen a lot of theater, but some of the stuff I saw from the James M. Nederlander’s dress circle seats blew my mind. Tiffany—along with Set Designer Christine Jones and Jamie Harrison, credited with “Illusion & Magic”—is a wizard who left us muggles in attendance asking “How’d they do that?”

The cast that Tiffany directs also helps build this magical world. Local talent Matt Mueller, last enjoyed by this reviewer when he starred as Gerry Goffin in the Marriott’s Beautiful, here co-stars as Ron Weasley. Chicago legend, Larry Yando plays multiple roles, all of them important, but his elderly Amos Diggory was a favorite of mine. Julia Nightingale delights as Delphi Diggory, and Mackenzie Lesser-Roy steals her scene as frolicking phantom Moaning Myrtle. Of course, John Skelley as Harry Potter and Ebony Blake as Hermione Granger also nicely bring the series’ big names into the action.

Again, it’s the sets and the action that really left me bewitched. I sit here writing this review still puzzling over how I saw some of the things I actually saw. And that is the draw of this show, which runs until February 1, 2025, at the James Nederlander Theatre downtown—you come for this world that’s been imagined into existence and into being beloved by millions, and not only do you get to meet these characters who populate and make this world so special, you get to be as amazed as they are by the magic and tragedy and human (or wizard) drama that makes it a world.

Brought to life on the big stage, Harry Potter and the Cursed Child is a triumphant return to Wizarding World!

Harry Potter and the Cursed Child is being performed at the James M. Nederlander Theatre through February 1^st. For tickets and/or more show information, click HERE.

This Pride Month, the electrifying musical "SIX" playing at the James Nederlander Theatre isn’t just a celebration of female empowerment – it's a vibrant anthem for self-expression and defying societal expectations. Forget the dusty history books and the traditional view of Henry VIII's wives as mere pawns. "SIX" explodes onto the stage with a pop-infused rebellion, reclaiming the narrative and reminding us that queens can tell their story in their own way.

"SIX," created by Toby Marlow and Lucy Moss, reimagines the six wives of Henry VIII as pop divas, each telling her story through a series of show-stopping songs. The musical is a fusion of history, pop culture, high camp, and a feminist reawakening, presented with a diverse and inclusive cast that adds layers of contemporary relevance.

From the moment the lights go down and the opening chords reverberate through the theater, "SIX" grabs the audience’s attention and never lets go. The set, minimalist yet striking, thanks to lighting design by Tim Deiling, serves as a dynamic playground for the queens, with each number featuring dazzling choreography and impressive vocal performances. The cast, a powerhouse ensemble of six immensely talented women, delivers each song with such conviction and charisma that it's impossible not to be swept up in their stories. They are accompanied by The Ladies in Waiting - a four-piece band consisting of Jane Cardona on keyboard, Sterlyn Termine on bass, Rose Laguana on guitars and Kami Lujan on drums

The show kicks off with the exuberant "Ex-Wives," an introduction immediately establishing the premise: the six queens are here to reclaim their narratives, casting off the shadow of Henry VIII to shine in their own right. Each queen’s song is distinct, reflecting her unique personality and circumstances.

Catherine of Aragon’s (Kristina Leopold) "No Way" is an anthem of resilience and defiance, performed with fiery passion that sets the tone for the show’s celebration of female strength. Anne Boleyn’s (Cassie Silva) "Don’t Lose Ur Head" blends humor with tragedy, capturing her youthful rebellion and ultimate downfall. Jane Seymour’s (Kelly Denice Taylor) heart-wrenching ballad, "Heart of Stone," showcases vulnerability and loyalty, providing a poignant contrast to the more upbeat numbers.

“House of Holbein,” set in the portrait studio of Germany's Hans Holbein the Younger, is the most techno-infused song of the evening. From the costumes to the lighting to the song's lyrics ("Try these heels, so high it’s naughty, but we cannot guarantee that you’ll still walk at forty"), the musical number transported me back to the iconic club scene of NYC’s Limelight circa 1989.

Anna of Cleves (Danielle Mendoza) brings the house down with "Get Down," a confident assertion of independence that resonates with themes of self-acceptance and freedom, core values of Pride Month. Katherine Howard’s (Taylor Sage Evans) "All You Wanna Do" is a powerful critique of objectification and a moving testament to her desire for genuine love and respect. Finally, Catherine Parr’s (Adriana Scalice) "I Don’t Need Your Love" is a triumphant declaration of self-worth and autonomy, a fitting culmination that leaves the audience empowered and inspired.

What sets "SIX" apart is not just its infectious music and compelling performances but also its underlying message of reclaiming identity and rewriting history. In the context of Pride Month, this theme takes on added significance. The LGBTQ+ community has long fought to assert their identities, often in the face of marginalization and erasure. "SIX" echoes this struggle, as each queen refuses to be defined by her relationship to Henry VIII, instead asserting her individuality and worth.

The production’s commitment to diversity is also noteworthy. The casting is refreshingly inclusive, reflecting a range of ethnicities and body types, which enhances the show’s relatability and appeal. This inclusiveness extends beyond mere representation; it is woven into the fabric of the performance, celebrating differences and promoting a message of unity and acceptance.

The show’s structure as a pop concert allows for a level of interaction and engagement that traditional musicals might not achieve. The queens frequently break the fourth wall, directly addressing the audience and inviting them into their world. This interactive element creates a sense of community and shared experience, much like the atmosphere of Pride celebrations.

"SIX" is more than a musical; it is a powerful declaration of empowerment and identity. The vibrant celebration of the queens’ stories beautifully aligns with the values of Pride Month, making it an essential production to experience during this time of year. With dynamic performances, infectious energy, and profound messages, "SIX" leaves an indelible mark on its audience, emphasizing the importance of owning our narratives and celebrating our true selves. It's a reminder that finding your voice and claiming your story is the ultimate act of rebellion. "SIX" is a celebration of defying expectations and embracing who you are, unapologetically. So, get ready to "Get Down With Herstory" because this show reminds us that even queens can rock.

When: Through July 14

Where: James Nederlander Theatre 24 W. Randolph Chicago

Running time: 1 hour, 25 minutes

Tickets: $35.50-$95.50 at 800-775-2000

                  www.broadwayinchicago.com

The Groundhog Day musical debacle left me wary of movie-to-stage adaptations. I saw them as cash grabs, mere shadows of the beloved originals. So, I approached Mrs. Doubtfire with trepidation, fearing another corny, uninspired musical. Thankfully, Mrs. Doubtfire surprised me. It wasn't just enjoyable, but the refreshingly unapologetic old-fashioned style of musical theater was a welcome change.

In case you’re unfamiliar with the source material, Mrs. Doubtfire is based on the 1993 movie of the same name. It starred the late incomparable Robin Williams and Americas sweetheart Sally Fields, and yes, we really do love her. The musical faithfully captures the heart of the movie, while incorporating essential modernizations. The plot is straight forward, Daniel Hillard a fun-loving vocal actor, devoted father to his three children is having marital problems. His free-spirited personality and impulsive behavior often clash with his workaholic wife, Miranda. Their differences culminate in a divorce. Daniel loses custody of his children although he gets limited visitation rights. Meanwhile, as Miranda’s work as a gym-wear executive requires more of her time, she now requires a Nanny. The process of interviewing potentials is comedy driven, as is so much of what unfolds in this 2-1/2-hour show.

After securing an interview with Miranda, Daniel sets out to become the nanny. He visits his gay brother Frank and his equally gay brother-in-law Andre. Both are in the costume design business. The first production number of this show (Make Me a Woman) sets the bar extremely high for future production numbers. Frank and Andre give Daniel several options to choose from. They start out with glamorous ‘Jackie’, ‘Diana’, ‘Cher’ and ‘Donna Summer’ until they realize ‘Eleanor Roosevelt’, ‘Julia Childs’, ‘Margaret Thatcher’, ‘Janet Reno’ and ‘Oscar Wilde’(strange, but it works) is closer to the nanny Daniel is going for. Daniel becomes Mrs. Doubtfire right before our eyes.

The production updated the material by using modern devices to its benefit. In ‘Easy Peasy’ Mrs. Doubtfire uses Alexa to find recipes and suddenly chefs pop out of every corner of the kitchen to help create a chicken recipe, even Julia Child and Paula Deen, with extra butter, make an appearance.

‘Playing With Fire’ is a fever dream of Daniel where he questions everything he has done thus far and involves the entire company. It is a big production with excellent choreography bringing the whole company together.

The heart of this production is Rob McClure, a theatrical force seamlessly transitioning between Daniel and Doubtfire, McClure is giving a career defining performance that would surely make Robin Williams proud. The lovely Maggie Lakis as Miranda and their on-stage children Giselle Gutierrez as Lydia (what a voice), Cody Braverman as Christopher, and Kennedy Pitney as Natalie make up the Hillard family. 

The supporting cast includes Aaron Kaburick (hilarious as Frank), Nik Alexander (a dramatic Andre), Leo Roberts (a powerfully built Stuart Dunmire) and Jodi Kimura as stoic station manager Janet Lundy.

In the wrong hands this production would be a mess, in the hands of four-time Tony Award winner, Jerry Zaks it becomes gold. His illustrious career boasts triumphs like "Guys and Dolls," "Six Degrees of Separation." and “La Cage Aux Folles”.  His keen eye for talent, comedic timing, and the ability to draw out the best in his actors have cemented his place as a Broadway icon.

This heartwarming and delightful musical is a pure joyride. Unlike some shows with hidden agendas, its sole purpose is to make you laugh out loud. While it's a charmingly old-fashioned family-oriented production focused on pure entertainment, the underlying message is clear: love conquers all, family is everything.

When: Through March 10

Where: James M. Nederlander Theatre, 24 W. Randolph St.

Running time: 2 hours, 25 minutes

Tickets: $44-$116 at www.broadwayinchicago.com

Stephen Sondheim warns to be careful what you wish for in one of his most beloved musicals, Into the Woods. The 2022 New York City Center Encores! Broadway revival became a revolving door for some of today’s biggest musical theatre stars. The run included Sara Bareilles, Cheyenne Jackson, and Brian D’Arcy James. The National tour, which features most of the original revival cast, makes its stop in Chicago at the James M. Nederlander Theatre. Fulfilling a lifelong dream, husband and wife Sebastian Arcelus and Stephanie J. Block lead this cast in the roles of the Baker and the Baker’s Wife. Unfortunately, due to illness in the cast, the Chicago run opened with Ximone Rose as the Baker’s Wife. Rose proved to be a worthy understudy for Block.

Into the Woods in some ways was the first time Grimm’s fairy tales were intermingled to tell an alternative version of the stories we know so well. Since then, there have been numerous books, movies, and TV series to attempt the same idea. Into the Woods may feature fairy tale characters, but it’s not a kids show. The script asks the big question, what happens if every single character got their wish? And the unintended consequences of getting what you think you want.

Into the Woods showcases some of Sondheim’s most beautiful music, and co-writer James Lapine’s most inventive storytelling. This stripped-down version almost looks like a staged concert with the orchestra playing on stage amidst the action. The minimal set and monochromatic costuming allow for the music to be front and center. With voices like Montego Glover as the Witch and Gavin Creel as Cinderella’s Prince and the Big Bad Wolf, this production soars to the rafters.

There are some plum roles in this show, but none are probably as rewarding as the Witch. Originated by Bernadette Peters in 1987, many big names have filled the cape including Meryl Streep in the 2014 film. Though, you may never again experience the kind of roaring applause and cheering (often reserved for pro sports games), that audiences gave Montego Glover after her hair-raising interpretation of The Last Midnight. The show was held for a few extra seconds while the audience brought down the house.

Gavin Creel as Cinderella's Prince/Wolf and Katy Geraghty as Little Red Ridinghood in 'Into the Woods at James M Nederlander Theatre through May 7th

 
Despite some understudies filling in, there’s not a glimmer of imperfection in this cast. Ellie Fishman went on as Cinderella where she really shines in the show’s final scene. Other than Fishman and Rose, the entire cast performed as listed in the Playbill. Katy Geraghty skipped off with most of the evening’s biggest laughs as Little Red Ridinghood. And of course, any chance you get to see Gavin Creel on stage, take it. He does a great job creating two distinctly different but hilarious characters in the Wolf and Prince Charming. He brings a physical humor that’s only occasionally upstaged by the puppet cow Milky White, helmed by Kennedy Kanagawa. 

There’s so much to love about this definitive revival of Into the Woods. Anyone who’s ever had the misfortune of sitting through a bad community (or high school) production knows that when done poorly, it can be a slog. This production moves along at quite a clip in part to its staging, but it’s a welcomed pace. No moment or song, or sweet section of music overstays its welcome. This Into the Woods would make its creator proud.

Through May 7th at Broadway in Chicago. James M Nederlander Theatre. 24 W. Randolph St. www.broadwayinchicago.com/show/into-the-woods