It’s still fairly early in the evening. At this point, the turkey is in the oven, and Jane and Luna are each a couple sips into their bottle of wine. Conversation is nervous. The two women still do not know each other too well, and while Luna is ready with her conversation starters, Jane remains more hesitant. They don’t quite know where to sit, and while they can tell the other feels awkward, neither knows how to comfort the other.

Then, the subject of music comes up. Not only do they both enjoy disco, but it becomes clear that they both love to dance. Luna runs to get the radio and upon finding the right station, the entire mood shifts. Luna begins a dance step – inviting Jane to follow. Then it’s Jane’s turn to lead, and the two continue to switch off – each inviting the other to meet their level of silliness and joy. As the two laugh and dance, it becomes clear they finally found the push they needed. Now that the ice is broken, a friendship can truly blossom. The audience at this performance was laughing right alongside the actors – making it clear that the fun was spreading and we as witnesses were ready to see this friendship succeed.

Written by Lloyd Suh, The Heart Sellers takes place on Thanksgiving of 1973 – inspired by the Immigration Act of 1965 (or the Hart-Celler Act). Luna (Aja Alcazar) and Jane (Seoyoung Park) are recent immigrants, having moved to the United States with their husbands who are forever busy with their residencies at the hospital. Alone on this holiday, Luna invites Jane on a whim to her apartment – where they share a bottle of wine and attempt to cook a frozen turkey. Over the course of the story, we witness these strangers begin to bond. While the conversations begin hesitantly, the two slowly open up. As they slowly transition from conversations about their workaholic husbands to deeper reveals of dreams and hopes for the future, you might just find it’s impossible not to lean in and share that joy alongside them.

Skillfully directed by Helen Young, the production is intimate and full of good humor. Young’s artistic team does a stellar job extending that charming energy throughout the theater. Scenic Designer John Culbert welcomes the audience into Luna’s small, colorful apartment. With the close-knit feel of Northlight’s space, it’s hard not to feel like you are in the apartment alongside the women – which is certainly ideal for a two-hander like Suh’s play.

At its heart, this is a story about a blossoming friendship, and the artistic team focuses their designs on highlighting the women at the center – making it easy to enjoy the genuine chemistry between these two talented actors. As much as this production is full of warmth, the story carries its heavier moments – particularly as the women discuss their challenges around coming to a new country and leaving their families behind. Alcazar and Park move through these ups and downs with grace, creating an emotional roller coaster that you might find sneaks up on you as you realize how invested you are in the story. 

Standout performances and a moving script alone make The Heart Sellers an enjoyable evening at the theater. Given the current backdrop that currently lives in our country, you might also find that this Suh’s exploration of an important moment for immigration also makes the production a potent and relevant one.

RECOMMENDED

The Heart Sellers runs through February 23 at Northlight Theatre – 9501 Skokie Boulevard. See the Northlight Theatre website for more information regarding tickets.

It’s Athol’s turn to speak. The lights have come up on his side of the stage and Morna fades into the dark background. Athol is sharing details about his nephew, Josh’s, visit. In this particular memory, Athol and Josh are having lunch at a pub. The conversation remains surface-level at the beginning. Athol and Josh’s mother, Morna, have not been on speaking terms for some time, and Josh seems to understand that it’s complicated. Then Josh shares that his mother was sick, and Athol is taken aback.

“You could have told me.”

“…You could have asked.”

The change in Athol’s demeanor is subtle, and Peter Moore plays that nuance beautifully. There is a small, quick pause before Athol changes the subject and continues on with the conversation. However, it’s clear that Athol is uncomfortable with Josh’s critique – especially because he knows Josh is right. Relationships are a two-way street, and this standoff between Morna and Athol has to end eventually. The question is, who is going to make the first move?

Written by David Harrower, A Slow Air is a two-hander that follows Athol (Peter Moore) and Morna (Kendra Thulin). The siblings have not spoken in years, and despite how close they live to each other, neither has taken a step forward to try and mend the relationship. Harrower’s play features a series of monologues from each of the characters. Over the course of the play, we hear each of their personal accounts of why the relationship is so estranged, and what each may need in order to overcome all the pain of the past.

Cleverly directed by Robin Witt, A Slow Air is deeply moving. Scenic Designer Sotirios Livaditis embraces the intimacy at the Edge Theater Off-Broadway – creating a playing space for the actors that leaves very little distance between the audience and themselves. The stage itself features a hallway with two doors – two entrances that are only used at the beginning and end of the play when the actors enter and exit. You may even find as an audience member that you almost feel like a scene partner in the story – a much-needed confidant as the characters muddle through their troubles. With so little to distract from the actors on stage, Witt lifts up the words themselves, inviting the audience into this estranged relationship. You may find yourself leaning in at times, feeling almost tempted to shake one of the characters into a different decision that could bring some healing.

It is no easy task to carry such an emotional play – especially with the added challenge of no breaks and only speaking in monologues to the audience. However, Thulin and Moore rise to the challenge with ease. The performances are genuine, and Harrower’s exploration of the relationship feels authentic and thoughtful. Family can be tough, and sometimes, the path to healing can take time – a journey that many in the audience are likely to understand.

Strong performances and clever directing make A Slow Air a night of emotional curiosity. Steep Theatre is often known for their grounded, thought-provoking productions. You just might find is a perfect addition to that list.

RECOMMENDED

A Slow Air runs through March 1, 2025 at the Edge Theater Off-Broadway – 1133 W Catalpa Avenue. See the Steep Theatre website for further information regarding tickets.

It’s the second act, and Beau (Jake Odmark) is in quite a state. The love of his life is about to marry another man, and he doesn’t know what to do. In an effort to lift him up, his friends do what anyone in their positions should do – insult the competition and highlight all of Beau’s strengths in the process. The effort is spearheaded by Beau’s loveable younger brother, Peanut (Mike Nappi – with an adorably genuine charisma.)

“Best Man Wins” is fast-paced and hilarious - with a tune that just might invite you to dance along in your seats. As Beau sits dejected on a barrel, his friends surround him – each hopping in with an insult about this “other man” that trumps the last. Sarah O’Gleby’s choreography does not disappoint. With talented performers jumping on barrels and racing on beams throughout the farmhouse, there is an impressive feat to witness regardless of where you direct your attention on stage. As Beau becomes consumed in the positivity and joins his friends in the choreography, this particular audience roared with applause – clearly swept up in the journey alongside him.

As you take in the musical as an audience member, you might find that Shucked amazes for a number of reasons. The script is witty, and the love story is the definition of wholesome. However, in my personal opinion, what truly sets this production apart is the talent in the ensemble as a whole. The soloists in particular wow with their vocal capabilities – with Lulu (Miki Abraham), Maizy (Danielle Wade), and Beau (Jake Odmark) standing out in particular. However, every ensemble member exudes a joyful energy that is impossible not to love. This, in my opinion, is so much a part of what makes this production a success.

The Cast of The North American Tour of SHUCKED.

With book by Robert Horn and music and lyrics by Brandy Clark and Shane McNally, Shucked follows Maizy (Danielle Wade) as she sets out to save Cob County’s dying corn crop – despite her fiancé, Beau’s, wishes. She finds Gordy (Quinn Vanantwerp) in Tampa – a podiatrist she believes can be the hero they need, and one who is more than excited to trick the community into giving him their precious resources as he “heals” their crops. Much as to be expected, nothing quite goes as expected when Maizy brings this new man home. However, as with so many romantic comedies, the true lessons are in the journey, and each of the characters has a little something to learn about how to love those closest to them.

The musical features a catchy score – full of hits that are sure to keep you singing on the way home including “Corn,” “Travelin’ Song,” “OK,” and “Holy Shit.” As much as the high-energy songs wow and amaze, the slower, emotional ballads carry an equal level of wonder – particularly with the voices that perform them. Beau’s rendition of “Somebody Will” elicited cheers that lasted minutes as he completed the solo. The song appears in the middle of the first act, when Beau finds himself stuck – hoping that Maisy will return to him but also unsure if he should forgive her for leaving him in the first place. Odmark’s vibrato soared in this performance, but the grounded, emotional energy he infused into the number truly pushed it over the top.

Directed by Jack O’Brien, Shucked is a classic romantic comedy – with all of the ups and downs that come with it. Romance fans in the audience are sure to find themselves looking away as the central heroes make silly choices and leaning in when they see them get increasingly closer to solidifying the happy ending of which they always dreamed. The script itself is witty, filled with dark, comedic jokes that keep you on your toes as you watch the events unfold. A good portion of the comedy comes from the two narrators at the center – Storyteller 1 (Maya Lagerstam) and Storyteller 2 (Tyler Joseph Ellis). Both performers showcase top-notch comedic timing and judging by the uproars of laughter surrounding me at this performance, I was not the only one who felt this way.

Full of laughter and infectious joy, Shucked is the perfect show for the family as Chicago slides into the colder months.

HIGHLY RECOMMENDED

Shucked runs through January 19, 2025 at the CIBC Theatre – 18 W Monroe Street. See the Broadway in Chicago website for further information regarding tickets.

Lights come down at the top of the show. We are clearly in a rehearsal hall as the ensemble lets us know that it’s opening night of William Shakespeare’s Romeo and Juliet – and they cannot be more excited to perform the material. Video and Projection Designer Andrezej Goulding helps guide the audience to the right time and place with images at the back of the stage representing Elizabethan England. Costume Designer Paloma Young dresses the actors with an impressive nod to the traditional. As they prepare for the opening number, Lighting Designer Howard Hudson zooms in on the cast with radiant color as they slowly move center stage. Fans in the audience may recognize the familiar starting notes of the song, but if not, the lyrics are likely to help fully draw you in:

“All you people can’t you see, can’t you see.
How your love’s affecting our reality.
Every time we’re down, you can make it right.
And that makes you larger than –“

William Shakespeare (Corey Mach) runs on stage to continue the song as this particular performance’s audience goes wild. &Juliet is a jukebox musical of iconic pop songs, and Max Martin (the talented creative behind Music and Lyrics) and book writer David West Read waste no time throwing us in with one of the famous throwbacks from the Backstreet Boys – “Larger than Life.” As the ensemble performed Jennifer Weber’s choreography, this audience felt one step away from jumping on their feet to dance along. The overall feel is like that of a pop concert, and the energy only heightens from there.

Directed by Luke Sheppard, & Juliet takes place on the opening night of Shakespeare’s Romeo and Juliet. As the cast prepares to rehearse the ending, his wife, Anne (Teal Wicks) unravels everything with a twist. What if Juliet didn’t end it all over Romeo but instead, went on living? What if the famous love story actually began with Romeo’s death, and instead created an opportunity for Juliet to go out and experience life? As Shakespeare and Anne co-write (and argue over) the new story, we are invited along on the journey as Juliet (Rachel Simone Webb) sees the world through new eyes – even inviting Anne and Shakespeare to learn a little something about their relationship along the way.

To say that Sheppard’s ensemble is full of stellar performers is an understatement. Each actor carried a vocal belt that rang from the rafters as they brought the boppy score to life. Pop fans will recognize a number of the hits including “Since U Been Gone,” “I Want it That Way,” “Domino,” “Roar,” and “It’s My Life.” Particularly when combined with Weber’s choreography and the vibrant design scheme, you might just find yourself sitting on the edge of your seat – afraid you will miss something if you so much as blink.

Michael Canu and the company of the North American Tour of & JULIET.

As much as the musical feels like a pop concert with high energy and fast-paced music, you might find that a large part of what sells the show is the heart – particularly as Anne learns to find her voice alongside Juliet.  

In an effort to find agency, Anne writes herself into the story as one of Juliet’s best friends – helping her along as she gets over Romeo and finds new life in Paris, France. When Juliet finds herself in the middle of a major romantic decision, Anne sits her down and shares her own story. Her marriage to Shakespeare has never been easy, and she has to navigate the highs and lows of that every day. 

The two begin to sing Celine Dion’s “That’s the Way it Is” – which is quite the tonal shift. In contrast to the larger-than-life choreography and light show from earlier, Sheppard pairs it down – focusing on the two women simply sitting in chairs at the center of the stage. We are left with little more than the actors themselves and their stunning vocals – filled with the heartbreaking emotion of the moment. If you’re anything like this writer, you may even find yourself moved to tears – watching these two women empower each other to not only move on, but also aim for better.

Full of jaw-dropping talent and creative pizazz, & Juliet is a theatrical event that leaves you wanting more. Especially for those who grew up listening to the pop sensations of the Backstreet Boys and Brittany Spears, the musical is sure to thrust you into nostalgia.

Run Time: 2 hours and 40 minutes, with intermission

HIGHLY RECOMMENDED

& Juliet runs through December 15 at the Cadillac Palace Theatre – 151 W Randolph St. See the Broadway in Chicago website for more information regarding tickets.

It’s the top of Act IV, and King Harry (Elijah Jones) stands alone on stage. The lights are dim – save for a spotlight, leaving the surrounding empty benches in shadow. His soldiers have all exited, each more excited than the one before him as they run off to battle against the French. Harry is left with nothing but his thoughts. With a long, deep breath, he takes a moment to pray. As he kneels down in the darkness, he whispers:

“O God of battles! steel my soldiers' hearts;
Possess them not with fear; take from them now
The sense of reckoning, if the opposed numbers
Pluck their hearts from them.”

 Up until this point, we have witnessed countless speeches from Harry. At every turn, he is ready to inspire his soldiers – his friends as he calls them, preparing them with the hope they require to go fight on his behalf. However, in this moment, we see something different. As Jones stands alone, we see a new physicality take form – one filled with vulnerability and fear. You might find that in this moment, like for me, the story shifts. Harry has carried an impressive, heroic air throughout. However, in this scene, he finally feels human. The language felt so heightened but suddenly, there’s something a little more relatable. He finally has something to lose. If you’re anything like myself, you might feel yourself leaning in - almost worried to see what danger befalls him with what is to come.

Directed by Artistic Director Edward Hall, William Shakespeare’s history play follows King Henry V, or Harry, (Elijah Jones), as he leads his army to invade France. Full of some of Shakespeare’s most famous speeches, the play explores what makes a king, as well as what obstacles might stand in the way – even if they are brought on by the individual himself. Hall’s talented ensemble brings this theme to life as we watch them bond and grow over the course of the story. In contrast to France, Harry’s army is meant to have everything standing against them – from experience to literal numbers. However, Harry’s ability to inspire carves a path forward, and we see how a natural gift like language can help a king survive.

As much as Shakespeare’s play can be one of hope, there is also a darker side as we see the ramifications of the seduction of war – one that Hall and Music Director Jon Trenchard cleverly highlight through live music.  

The play itself carries a highly serious tone. The lighting overall is quite dark, with a muted set as we settle into England’s army base (filled with impressive detail from Scenic Designer Michael Pavelka that consumes Chicago Shakespeare’s Yard Theater). Sound Designer Emily Hayman does not hold back with the war scenes – successfully immersing the audience in the fear surrounding the soldiers on stage. Particularly with the heightened language of Shakespeare’s text, the production feels as if it will be clouded in death and all that comes with it.

Then, in a key moment, the notes of The Clash’s “London Calling” starts to play. The musicians on stage come forward as Lighting Designer Marcus Doshi fills the stage with flashes of pink and red. The soldiers – all quite solemn to this point, begin to jump and dance as they yell the lyrics with the musicians. The vibe quickly shifts to one of a rock concert. Looking around at the guests surrounding me for this Opening Night performance, it was clear the audience was just as excited – especially as they danced along in their seats. This was only the first of many musical interludes, and each was met with more excitement than the last.

Henry V can be quite heavy. The story of a young king forced to grow up too quickly as he rounds up his soldiers to fight on his behalf is not easy. While poetic, Shakespeare’s series of extended monologues could make this history a tougher one for folks who are less used to his work. However, with the incorporation of the music and tonal shifts, Hall and his team do their part to ease in the audience. You might find that breaking up the text in this way allows you to catch your breath, recalibrate, and prepare yourself for the next stage of the journey.

Impeccable design and cleverly crafted, Henry V makes for an accessible entry point to Shakespeare’s histories. Hall is still new to his position, but he is certainly one to keep an eye out for.

Henry V runs through October 6 at Chicago Shakespeare Theater – 800 E Grand Avenue. Check out Chicago Shakespeare Theater’s website for tickets and information. 

RECOMMENDED

It’s dark on the Neverland ship, and Molly, Prentis, Ted, and Boy are hiding in a corner – waiting for the coast to clear. As they huddle and watch, the four begin talking about dreams. All have experienced their fair share of hardships, but for the briefest moment, they look to a world of what could be.

Boy has been fairly quiet to this point – only following Molly with the promise of better food. However, at this discussion, he perks up, and whispers his dream aloud:

“The world will be so beautiful that no one will ever have to say sorry again.”

Many of us know the story of Peter Pan. The story of a boy who never wanted to grow up. All he wants is to fly around Neverland with the Lost Boys – fighting Pirates and finding adventure after adventure. The heart of the story is full of magic, and all the wonderful possibilities that come with a youthful energy and imagination.

Being a prequel to the famous tale (and based on the novel by Dave Barry and Ridley Pearson), Peter and the Starcatcher carries much of the same wonder. As Boy whispers his dream to the audience, you might find yourself reminded of that original story. Perhaps if you, like myself, grew up a fan of Peter Pan, you will even find yourself smiling and leaning in upon hearing the sweet innocence of the fantasy. Even in a moment where everything feels dark and uncertain, Boy, dares to dream – exploring a childlike wonder that so many eventually lose, but to which can be so fun to return.

Peter and the Starcatcher follows Boy (or later named Peter – played by Terry Bell), who is held captive on the Neverland ship with two fellow orphans - Prentis (Michaela Shaprio) and Ted (Brandon Acosta). When they meet Stardust Apprentice Molly (Shelbi Voss), their whole world is turned upside down. A quest for better food turns into an unexpected adventure when Pirates come on board – attempting to steal back a trunk full of precious stardust, which Molly and her father are sworn to protect. Drawn to Molly’s heroism, Boy takes it upon himself to protect this stardust at all costs – even if it means going toe to toe with Pirates and a terrifying ocean.

Directed by Nate Cohen, Paramount Theatre’s intimate production is intensely theatrical. Rick Elice’s play carries a storybook charm, with various forms of narration throughout and actors playing multiple roles depending on the needs of the moment. Sometimes actors step out of the action to narrate the next event, while other characters have moments of speaking in third person. Cohen and his team lean into the storybook feel – particularly in the collaboration between Scenic Designer Myra G Reavis and Props Designer Ivy Treccani.  The set is minimalistic, and primarily comprised of various objects one might find in a theater. Ladders, stools, sheets, and chairs are utilized in multiple ways to represent various locations – all moved by the actors themselves. The effect? The audience is witnessing the story unfold and reconfigure in front of them with each scene, creating the feel of being inside the storybook alongside the characters. We are invited to use our imagination alongside the performers to fill in the dots, and with the intimate feel of Paramount’s Copley Theatre space, you might find that this adds to the experience.

As many of us know, Peter Pan is full of magic, and Peter and the Starcatcher is much the same. Lighting Designer Jackie Fox utilizes gold fairy lights to create the illusion of stardust – creating stunning stage pictures throughout the production.

One such moment occurs towards the end of the first act. Boy asks Molly for proof of what stardust can do. If he is going to risk his life to save it, then he may as well know why. Begrudgingly, Molly takes out her stardust, and whispers the following:

“To have faith is to have wings.”

From there, the surrounding lights dim and the specks of gold brighten. Molly is lifted above by actors, and as we see her spread her arms, Boy looks up in pure awe. Voss and Bell play the moment wonderfully – particularly as Voss’ Molly enjoys the feel of proving Bell wrong when he doubts her abilities. Most impressive though, at least personally, is the way in which Cohen stages the magic. As we see Molly lifted above by her ensemble, we too are invited to use our imagination - to have faith.  From there, Cohen once again invites the audience to return to their own childhoods and enjoy the magic of storytelling and believing in the impossible.

Full of stunning performances and remarkable stage magic, Peter and the Starcatcher will leave you on the edge of your seat – eager for what’s next and wishing there was more beyond the final lights down.

Peter and the Starcatcher runs at Paramount Theatre’s Copley Theatre – 8 E Galena Blvd in Aurora  through September 1, 2024. See the Paramount Theatre Website for tickets and information.

HIGHLY RECOMMENDED

Keith (Debo Balogun) and Ryan (Nate Faust) sit in their rolling chairs in the middle of Keith’s office. The lighting is highly florescent, and the two are discussing Ryan’s current status and ability to convince a bank to give him a loan. Tension is high, and with Ryan’s desperation only increasing, Keith is doing everything in his power to help him out. We have been watching the duo become closer over the last many scenes, and at this point in time, you may feel yourself leaning in – nervous for Ryan’s fate and just hoping the two friends can figure out a path forward.

Then the lights shift. The stage becomes brighter, birds start to chirp, and the two bring their rolling chairs downstage so they are sitting directly next to each other. No longer are we in Keith’s office. The rolling chairs now represent a bench in a park, and the two single fathers are watching their kids play together. Through their commentary, it’s clear that the kids are becoming closer, and learning to share as they move through the various slides and playground equipment. Somewhere in mid-conversation, we hear Keith gasp as he grabs his phone. Their toddlers are holding hands, and the fathers simply have to capture the moment before it’s too late. As the two giggle on stage, I could hear the audience surrounding me share in the joy – laughing and appreciating the sweet humor.

Sam Hunter’s play is about a lot of things. The ups and downs of fatherhood. The challenges of bureaucracy. The difficulty of building a better life for yourself when everything seems to be stacked against you. But at the heart, this is a story about a friendship that forms between two strangers – two men who not only share the status of fatherhood, but also a certain sadness from their lived experience. As you witness Hunter’s cleverly-written story, you might just find that the journey is at times gut-wrenching, but also full of hope – a balance that keeps you intrigued and eagerly awaiting more.

Written by Sam Hunter, A Case for the Existence of God follows the story of Keith and Ryan. The two men come together on the day that Ryan arrives at Ken’s office door for help obtaining a loan. While the relationship begins with some tension, the barriers start to come down at the realization that both have a young daughter back home. From there, a friendship forms, and we witness the slow building of trust as they learn how to better support each other through both the financial and parental challenges that follow.

Directed by Robin Witt, the play is fast paced. The piece may only be 90 minutes, but once this train of a play starts, there is simply no stopping it until the lights come down at the end. Witt’s artistic team aids in that endeavor – particularly through the work of Scenic Designer Sotirios Livaditis. The stage is entirely consumed by Keith’s small office – a space that leaves little space for movement. The intimate feel of the Edge off Broadway thrusts the audience right into the action – forcing us all into this tiny office that represents multiple locations as the two characters start to uncover each other’s secrets. The ending result? For better or for worse, we are on this roller coaster with the characters – and personally, I feel that helps make the journey.

Hunter’s play is a two-hander, and considering the actors never leave the stage, the chemistry between the two actors feels essential. Balogun and Faust rise to the challenge. If you’re like this writer, then you have also perhaps caught these Steep ensemble members in many productions over the years. Always talented, but these roles in particular shine. In collaboration with Witt’s direction, the performances are gripping, and with every twist and turn, I personally found it impossible to look away.

With standout performances, a smart production, and a story that tugs at the heartstrings, this is one you do not want to miss. Steep does not disappoint and from the looks of the standing ovation surrounding me at the end of this particular performance, I was not alone in my opinion.

HIGHLY RECOMMENDED

A Case for the Existence of God runs through September 7 at the Edge of Broadway – 1133 W Catalpa Avenue.

When life’s chaos is full of impossible choices, how are we possibly meant to move forward?

Brooklyn Laundry is about a lot of things. There’s love. There’s heartbreak. There’s family, and there’s grief. However, at its center, you might find that the play boils down to the central question above. Playwright John Patrick Shanley may not offer the answer, but he certainly invites a conversation.

Brooklyn Laundry follows Fran (Cassidy Slaughter-Mason) - a young woman who meets business owner Owen (Mark Montgomery) upon dropping off her laundry at his dry cleaners. By chance they meet, and Owen ask her out for dinner. Fran is touched, and ultimately says yes. However, life is rarely as it seems, and Fran is navigating far more than a recent breakup. With one sister, Trish (Marika Mashburn), suffering from cancer and her other sister, Susie (Sandra Delgado), battling her own health challenges, Fran finds herself drowning in the middle – unsure of how to proceed.

Directed by Northlight Artistic Director BJ Jones, the production features a stellar ensemble as a whole. Mashburn and Delgado may only have one scene each, but the emotional depth they bring into these moments is enough to make them stand out. Delgado in particular gives a heartbreaking performance as Susie and certainly does not hold back. The character’s high-strung tendencies are likely to feel relatable to the older siblings in the audience, as well as the devastating blow when we see her pushed too far, and the true feelings beneath simply have to bubble over.  

Slaughter-Mason and Montgomery fill the blooming relationship at the center of the story with charm and if you’re anything like this writer, you may find yourself leaning in – hoping they succeed.

Fran and Owen’s first date is full of that awkward energy that so many audience members will recognize. From the moment that Fran walks into the restaurant, it’s clear that nothing will quite go as expected. At the surprising realization that she is completely high, Owen offers to take some of the drugs alongside her to even the playing field. As the effects settle in, the two embark on a conversation around intimacy that completely changes the tone around the evening.

The stage is empty except for the couple, allowing us as an audience to fully absorb the moment. Slaughter-Mason and Montgomery fill this scene with empathy and relatability. Laughter and gasps from the Opening Night audience filled the theater at the beginning of the date; however, as the scene moved along, pure silence took over. The shift in mood made it clear that this writer was not alone in her feeling that Slaughter-Mason and Montgomery certainly knew how to win over the crowd.

Shanley’s script is fast-paced and strong. Fran’s journey as a whole is far from easy, and Shanley smartly includes a mix of fun, light-hearted romantic scenes to break up the larger, heavier trajectory of the character’s arc. If anything, you might find that the script is too short. This 80-minute play is packed from beginning to end, and I personally found myself surprised when the lights came down at the end.

Stand-out performances and a gut-wrenching (yet at times comedic) story make Brooklyn Laundry an emotional roller coaster from start to finish. Modern-day romances rarely follow the path of a romantic comedy, and Shanley offers a window into the nuances that can hopefully lead to something stronger on the other side.

RECOMMENDED

Brooklyn Laundry runs through May 12, 2024 at Northlight Theatre - 9501 Skokie Boulevard.

The Player (Lorenze Rush Jr) has just run into Rosencrantz and Guildenstern with his troupe of players. As he explains how the players operate, he announces:

“Every exit is an entrance someplace else.”

As soon as he recites the line, his troupe jumps into action. They move with quickness as they prepare the stage to put on a show for Rosencrantz and Guildenstern – the willing audience they happened to run into on their travels. The line offers an opportunity to perform, and they are excited to take it. The ensemble is strong – particularly in their physical comedy, and they heighten the moment with ease.

On another level, The Player’s line offers the perfect backdrop for the play. Rosencrantz and Guildenstern find themselves at the top of the show unable to remember anything – including where they are or why. As the play moves forward, the anxiety only increases, and it’s clear that the Player’s line rings true. Every turn of events offers another possibility, and it’s unclear where the duo’s story will end.  

(left to right) Lorenzo Rush, Jr., Rob Lindley, Nate Burger, Erik Hellman.

Written by Tom Stoppard, the play follows Rosencrantz (Nate Burger) and Guildenstern (Erik Hellman) – the famous duo from William Shakespeare’s Hamlet. We catch a glimpse into what the two friends were navigating in the midst of Hamlet’s crisis – before, after, and during their visit with the Danish prince. As they battle questions of identity, loss, and fate, they meet the Players – the very same troupe that puts on the play in Shakespeare’s tragedy, exposing King Claudius as the murderer of Hamlet’s father. As Rosencrantz and Guildenstern struggle to put the pieces of their story together, they start to get at the root of what it even means to be alive. Burger and Hellman drive the play with spot-on comedic timing, as well as a chemistry that is exciting (and at times heartbreaking) to watch unfold.

Directed skillfully by Charles Newell, the production is fast-paced, and offers a deconstructed adaptation of Stoppard’s piece. If you are anything like this writer and familiar with Stoppard’s play, you may find the approach almost shocking at first. The adaptation is certainly different, and much is cut away to allow this more nuanced view of Rosencrantz and Guildenstern’s journey. However, upon finding your bearings, you may also discover that the approach immediately thrusts the audience into the chaos of what the duo is feeling as they navigate their story. As the piece quickly jumps through space and time, you may find that the approach almost creates an immersive experience for all witnessing.

Newell’s artistic team leans into the theatricality of the play – particularly in the scenic and lighting design. Scenic Designer John Culbert takes advantage of the vast openness of the stage itself. The furniture primarily includes benches that move about as needed, and the emptiness allows full view of the back wall that clearly states, “Court Theatre.” The story focuses heavily on the group of players, and exposing the stage in this way allows that meta story element to fully take form. Lighting Designer Keith Parham utilizes shadows, playing into the eerie, almost frightening themes of the play – especially those that offer questions around death and existence. 

You might find that the striking design allows for the surprises of the script to hit even harder – starting with the entrance of the players. At the beginning of the play, we meet Rosencrantz and Guildenstern almost at the foot of the stage – with a big red curtain draped behind them. As they start to hear whispers of others in the space, we see large shadows take form on the curtain. The darkness aids in this moment, and we can feel the duo’s fear as they search around, wondering what might attack them. Then, all of a sudden, the red curtain drops to the ground with a bang – shocking the audience with the reveal of the Players backlit in silhouettes. The gesture at this particular performance was met with a mix of gasps and applause as folks overcame the shock and absorbed the staging before them.

Stoppard’s play has been around since 1966, but you might find that Charles Newell brings a fresh take that even leaves long-time fans wondering what twist or turn may happen next. Along with a standout cast and stunning design, Court Theatre’s Rosencrantz and Guildenstern are Dead is one to remember.

RECOMMENDED

Running through April 28, 2024 at Court Theatre – 5535 S. Ellis Avenue.

“May God bless and keep you always
May your wishes all come true
May you always do for others
And let others do for you
May you build a ladder to the stars
And climb on every rung
May you stay forever young
May you stay forever young”

For many, if they are unfamiliar with the music of Bob Dylan, they have at least heard the one. As the opening cords of “Forever Young” start to play, Elizabeth (Jennifer Blood) takes center stage. She sits on the bench and sings – backlit by a screen of light blue. Aside from her husband, Nick (John Schiappa), who sits frozen by her side – the stage is empty. The room is silent save for her stunning vibrato. We are left with nothing but her and the lyrics on which to focus, allowing us to join in her somber, reflective journey.  

Juke-box musicals can often run into challenges. In trying to fit an entire score of pre-made material, it can become tough to craft a story that flows and feels authentic. Girl from the North Country is a Bob Dylan juke-box musical, and you may just find that the creators found the perfect balance of storytelling to match his folk/rock genre.

Written and directed by Conor McPherson, Girl from the North Country centers on a group of wayward travelers in Duluth, Minnesota in 1934. When these characters meet at Nick’s old guesthouse, we catch glimpses into their lives – past relationships, hopes for the future, and all of the regrets leading them to this moment. Much of McPherson’s musical is told in a vignette style – moments in which we see these characters briefly interact before moving on to their rooms for the evening. Scenic and Costume Designer Rae Smith heightens the theatricality with her design. Rather than featuring a full house on stage, we see the structure in segments – with walls dropping in various places as a way to highlight the characters’ interactions before moving to a different space in the house. 

The musical showcases a list of famous songs by Bob Dylan including “Forever Young,” “All Along the Watch Tower,” “Hurricane,” and “Like a Rolling Stone.” With the story moving so quickly, Dylan’s slower musical style allows the audience to catch up as the songs unfold – giving us just enough pause to catch a window into the characters’ true feelings before speeding back up again. This especially rings true in the more heartbreaking, romantic storylines of the show.

“Tight Connection to my Heart (Has Anybody Seen My Love)” appears early in Act One and features Marianne Laine (Sharaé Moultrie) – the adopted daughter of the innkeeper. We learn that she is pregnant but refuses to let anyone know the identity of the father – including her parents. As we see her break away after guest after guest pushes for that answer, the music starts to play. The lights shift. Moultrie is backlit by a bright green screen as she begins to sing – creating a haunting presence as her powerful belt rings throughout the theater. After seeing so many characters move in and out of the space, you may find that Marianne’s isolation on stage almost feels like a shock, but also offers a much-needed moment of backstory before quickly moving on to the next.

A moving story and jaw-dropping vocalists alone make Girl from the North Country a night to remember Conor McPherson and his artistic team celebrate Bob Dylan’s music in a way that I can only imagine is exciting for long-time fans to experience first-hand.

RECOMMENDED

Running through February 25, 2024 at the CIBC Theatre – 18 Monroe Street.