Just in time for the season’s first snowfall and the holidays, the Marriott Theatre in Lincolnshire serves up a delightful rockin’ adaptation of Hans Christian Andersen’s The Snow Queen, perfect for the entire family as its finale for the 2023 children’s theatre season.

Billed as the story that inspired the Disney megahit Frozen – indeed, there were many young audience members in full Elsa garb – the story follows the adventures of the brave, young Gerda, who is determined to find and rescue her best friend, Kai, who is trapped forever in the Snow Queen’s winter palace.

The Snow Queen is one of Andersen’s most highly acclaimed fairy tales, with its timeless story of the struggle between good and evil. In this production, Andersen’s beloved tale is transformed into a musical, set to an original pop-rock score that has something for everyone’s musical tastes.

The story itself is a bit complicated. Struck in the eye and heart by the splinters of a mirror stolen from the Snow Queen and cursed by a malevolent troll, Kai forgets his friendship with Gerda and becomes cruel and mean-spirited. Undaunted by her beloved friend’s rejection, the intrepid Gerda begins her journey to reclaim her friend, which takes her into a magical world filled with singing flowers and a zany group of talking crows, a wicked witch, who casts a spell to trick Gerda into becoming her daughter, a kind-hearted prince and princess, a hard-rockin’ punk robber girl and mother, and more!

Whether the Frozen devotees were disappointed that their favorite princess, Anna, Olaf, or Kristoff, were not on stage (there is a talking reindeer!), it didn’t appear to be the case. The mostly under-ten audience paid rapt attention throughout the hour-long production.

While the staging was kept to a minimum, with scene changes accomplished through a well-placed prop (cleverly camouflaged alongside the Marriott Theatre’s signature circular stage) and through two video screens flanking the stage, the talented ensemble kept their young audience engaged through non-stop action onstage and foot-tapping music that ranged from soulful ballads to a dance-party beat to a homage to punk rock.

This was my first time seeing a production at Marriott Theatre as well as my seven-year-old granddaughter’s first live theatre performance. It is the perfect venue for introducing children to live theatre as the sightlines are good and the audience is close to the actors and action. There’s even a question-and-answer session after the performance with the actors to further educate the next generation of theatregoers.

The production comes to life under the sure-handed direction of Landree Fleming with music direction by Michael Mahler and choreography by Katie Johannigman. The ensemble of five actors works hard throughout the show with the majority playing multiple roles through a deft change of costume – a hat, a coat, change of shoes – or a change of accent.

Veteran Chicago actor Caron Buinis (who’s also appearing in Marriott Theatre’s production of the Carole King tribute musical Beautiful) is simply wonderful as Gerda’s grandmother, the wise woman of the North, the witch, and the robber mother. Also returning to Marriott Theatre stage is Jeremiah Alsop, who plays the troubled Kai, as well as the prince and a singing flower.

The ensemble is rounded out with three actors making their debuts at the Marriott. Ryan Stajmiger captivates the audience in his multiple roles as the troll, the reindeer, the rose, and the head crow, Reginald, which he hilariously portrays as a droll, but proper British soldier. Add to that Alanna Chavez, who dazzles as the Snow Queen (my granddaughter’s favorite character), but who also can rock as the lonely, punk-rocker robber girl.

But it is Joryhebel Ginorio, in her debut at Marriott, who shines as the loyal and devoted Gerda. Ginorio brings a sweet soulfulness to her portrayal of Gerda and charms the audience with her vocal versatility and range. She has a beautiful voice, and I, for one, hope that this will not be the last Ginorio will be heard on Chicago’s stages.

As with all proper fairy tales, love, goodness, and friendship triumphs in the end – to the delight of the audience. And who knows? Maybe the young Elsa fans in attendance have found another heroine in the kindness, bravery, and determination of young Gerda.

The Snow Queen provides families with the perfect holiday entertainment with shows on most Fridays through Sundays at 10 am through Dec. 31. There are select 12:30 pm performances and plenty of holiday week performances scheduled.

From Twelfth Night’s well-known opening lines “If music be the food of love, play on …,” the stage is set for Shakespeare’s madcap comedy of misplaced love and mixed-up identities. Woven throughout this production are the colors, culture, and Caribbean-inspired music that play almost as important a role as the actors on stage.

There are those who prefer their Shakespeare straight up and true to the Bard’s written word and intended setting. I, however, am not one of them. I enjoy seeing Shakespeare’s plays reimagined and reset into different settings and time periods, and I was thoroughly enchanted and entertained by director Tyrone Phillips’ interpretation of Twelfth Night.

In his debut as a director at Chicago Shakespeare Theatre, Phillips brings his personal background to the stage as a first-generation Jamaican America. The island kingdom of Shakespeare’s Illyria comes to life under Phillips’ direction as a Caribbean paradise, complete with swaying palm trees, a sandy shore, and a reggae-inspired beat that pulses throughout the show.

There’s no way you can leave the theatre without a smile on your face, as if you’ve just been on a mini-vacation.

We first meet the Duke Orsino, played by Yao Dogbe, a talented veteran of Chicago Shakespeare, lamenting his unrequited love for Countess Olivia, who has declared a seven-year period of mourning for her brother. The duke’s emissaries have all been rejected, and he is at wit’s end.

That is, until a spectacular storm at sea deposits the young Viola, aptly played by Jaeda LaVoone in her debut at Chicago Shakes, on the beach of Illyria. Believing that her twin brother, Sebastian, has drowned in the storm, she disguises herself as a young lad, Cesario, and seeks employment with the duke. There’s something about the well-spoken Cesario that prompts the duke to send him to Olivia to proclaim the duke’s love to her.

Viola is immediately smitten by the duke, but vows to serve her master, and so as Cesario, goes off to see Olivia, wonderfully played by Christiana Clark. Craziness ensues as Olivia becomes love-struck with Cesario, and comically, Viola finds herself trying to extract herself from this awkward love triangle.

Throw into the mix the subplot of characters, led by Olivia’s uncle, Sir Toby Belch, (Ronald L. Conner), and his sidekick, Sir Andrew (Alex Goodrich), who plot to prank the uptight Malvolio, Olivia’s stalwart steward, by leading him to believe that his mistress is deeply in love with him. Add the surprise appearance of Olivia’s twin, Sebastian, who in actuality also survived the shipwreck, and the series of mistaken identities that result add to the chaotic comedy.

 But, as with all Shakespeare’s comedies, all is resolved in the final scenes. Brother and sister are reunited. The Duke and Olivia, at last, find their true loves (and not with each other!), and even the mistreated Malvolio realizes that “everyone is fragile,” and makes his peace with his adversaries.

The production is a homecoming of sorts for Phillips, who first visited Chicago Shakespeare as a teen and later performed on its stage in A Midsummer’s Night Dream.  He has assembled a talented group of predominantly African-American actors who bring an energy and authenticity to the show. For me, the performances by Clark’s Olivia and Paul Oakley Stovall’s Malvolio stood out. Clark’s Olivia is bold, beautiful, and determined to win Cesario’s love. I was captivated by her larger-than-life presence whenever she was on stage. And Stovall shines as the puritanical prude, Malvolio, who underscores his performance with a subtle gesture or a raised eyebrow.

From the opening scene where Olivia’s jester Feste (Israel Erron Ford) invites islanders to stroll with him to a reggae-inspired beat to the curtain-call where the entire cast dances to that same exuberant rhythm, Twelfth Night is an energetic, joyous, laugh-out loud romp that is sure to entertain – a perfect escape for a couple hours from the holiday stress.

You can still get in on the fun as Chicago Shakespeare extended its run through Dec. 3.  

It’s Christmas 1183, and King Henry II has gathered his family together at his court in Chinon, France, with hopes of settling once and for all the future legacy of the House of Plantagenets by naming one of his sons as successor to the throne.

So, Henry’s three sons, who are all vying to be named king, Richard Lionheart, his eldest surviving son, Geoffrey, his middle son, John, his youngest son (and Henry’s favorite), along with Henry’s mistress, Alais, who is also betrothed to his son Richard, and his estranged wife, Queen Eleanor of Aquitaine, who has been released from prison for the occasion, gather together for a family reunion of sorts. Add in an appearance from the King of France, Philip, whose sister just happens to be the king’s aforementioned mistress, and you have the makings for a truly volatile get-together.

As Eleanor quipped, “Are we hanging the holly, or hanging each other?” And you thought your family holiday gatherings were fraught with tension!

It is against this backdrop of family intrigue, scheming, and naked hostility that “The Lion in Winter,” a fictionalized account of these historic events, is set. The play, written by Highland Park’s own James Goldman, debuted on Broadway in 1966, earning Rosemary Harris a Tony Award for her depiction of Eleanor, and later inspired the Oscar-winning film, starring Peter O’Toole as Henry, and Katherine Hepburn as Eleanor.

I came expecting a serious melodrama centered on the complex interpersonal relationships of Henry’s tattered family, and so was pleasantly surprised to find myself laughing along with the rest of the audience at the sarcastic jabs, verbal taunting, and what in the skilled hands of Director and Resident Artist Ron OJ Parson, was the almost comically inept plotting by the three sons. Despite a play whose main source of action is based on dialogue, I found the performance fast paced and was completely drawn into what was happening on the stage. You didn’t want to miss a word of the verbal potshots being landed right and left between those on stage.

It was the opening night for the Court Theatre’s 2023-2024 season, which now in its 69^th season, has built a firm foundation on reimagining the classics for a modern audience. It was my first time visiting the Tony-award winning theatre, and I will return. What struck my husband and I was the sense of community and camaraderie among the theatergoers. Clearly, the audience was filled with many of the cast’s family members and well-wishers, but the buzz of anticipation among the audience before the curtain came up reminded me of attending my daughter’s high school musical performances, where everyone knew each other. That certainly seemed to be the case here, as greetings were exchanged between rows and sections. We were even greeted warmly by our row-mates, something I have not experienced at other theatres, and it made for a family-like atmosphere in this intimate setting.

From start to finish, the performance was captivating; each aspect working in harmony toward the end goal. The set design, under the direction of Linda Buchanan, was sparse, but effective. The play moved seamlessly from banquet hall to bedroom to dungeon with the mere addition of a chair, a table, a bed. There was little to distract us from the main focus of the drama – the verbal fireworks and emotional interplay between Henry and Eleanor.

Both actors bring a clear understanding of their characters to the performance. John Hoogenakker, a veteran of the Court Theatre, brings Henry’s very personal struggle to remain relevant and stay in control of his kingdom to life through his understated, yet powerful performance. At one point, we witness Henry’s rage and absolute desire to win at all costs against his wife, Eleanor, yet we also are privy to the tender moments as he swears his love and allegiance to Alais, his mistress. There’s also a beautiful scene between Henry and Eleanor toward the end of the second act, where they recall their first meeting and the strong bond of love that once existed between them that was truly moving in its tenderness and depth of emotions.

Rebecca Spence, in her debut performance at the Court, plays Eleanor as a strong, confidant woman, with an intelligent and acerbic wit, who is as determined as Henry to win the day and anoint her own favorite, Richard, to the throne. Yet, Spence also allows us to see Eleanor’s true inner desire, which is to be loved -- by her son, Richard, by Alais, who she had helped raise in the English court, but most of all, by Henry, for whom she has never stopped loving. It’s a masterful performance by Spence, and while her Eleanor made me squirm at her decidedly unmotherly moments, I also felt empathy for her as the spurned, older woman whose time has passed by and who no longer can command Henry’s love.

The three sons are skillfully played as well with Shane Kenyon as the warrior, Richard Lionheart, Brandon Miller as Geoffrey, the quintessential middle child, who continually asks, “And what about Geoffrey?”  and Kenneth La’Ron Hamilton, as the dim-witted inept younger son, John, whose has only one card to play – his father’s affection. The three scheme and change alliances so quickly that it’s hard to keep track of the changing teams. At one point, in a hilarious scene, all three end up hiding in Philip’s bedroom, listening as the King of France betrays them all – including Richard’s love for him.

The ensemble is rounded out with a solid performance from Netta Walker as Henry’s mistress, Alais, who brings to the role a tenderness and devotion to Henry that serves to counterbalance the relentless infighting and backbiting among her lover’s family.  I admit I was puzzled at first by the portrayal of Philip, King of France, by Anthony Baldasare, because his character seemed weak and inconsequential against the stronger more dominant characters onstage, but the scene in which he outmaneuvers Henry’s three sons and Henry himself displayed a strength of character and that Philip is as accomplished a schemer as the others.  

 The play ends much as it began, with no resolution at hand. Eleanor must return to prison, and the three sons continue to bicker and fight over who will ascend to the throne.  Yet, in the closing moments, as Henry and Eleanor climb the stairs, arm-in-arm, we sense that they will live to fight for another day, motivated as much by their hate, as by their love.

The family intrigue and infighting charged by greed and ambition that underscores the storyline of “The Lion in Winter” may not be for everyone this holiday season, but its honest, sometimes tender, sometimes humorous, portrayal of life is a performance worth seeing.

“The Lion in Winter” plays at the Court Theatre from Nov. 11 through Dec. 3.