After half an hour into Loy Webb's "Judy's Life's Work," I found myself silently reciting the dialogue, though not necessarily every line, as the familiar narrative unfolded predictably before me. The tale revolves around a classic trope: a familial feud over inheritance. While it pays tribute to the themes of Hansberry's "A Raisin In The Sun", Wilson's "The Piano Lesson," and Morisseau’s  “Sunset Baby” it falls short of reaching the profound heights achieved by those works.

The prologue inexplicably begins with a symbolic fight between Xavier and Charli.

The play is set in a boxing gym in Chicago. It is owned by Xavier, a 43-year-old ex-con. He purchased the gym after doing an 8-year stint in prison for a crime never fully explained. His motivation for the gym is to give the youth of the neighborhood a haven from the crime and negative influences he fell under. Xavier’s gym is facing foreclosure. His mother, who he calls Judy, has died a month earlier. He never had a relationship with his mother. She gave birth to him at age 15, then gave him up for adoption so she can finish her education. He harbors the hate and pain of her decision. It has clouded his being his entire life.

Enter Camille. She sells herself as a financial guru to Xavier, but she is a pharmaceutical professional. She tells Xavier she loves him. (she telegraphs us she doesn’t ) She explains how she will make his gym a non-profit entity and have donors lining up to support his dream. She makes him believe together they will change the world one wayward child at a time. She talks Xavier into selling Judy’s papers on cell regeneration and he is more than happy to do whatever she suggests.

Before they ride off into the sunset there is the pesky business of getting Judy’s papers from his sharp as a whip baby sister, Charli. Charli sees through Camille scheme. She tries to open Xavier eyes, but he is blinded both by hate and love.

The prologue shows Xavier symbolically fighting with his sister Charli,  since the prologue sets the stage for the story, which is all about Xavier's internal struggle, Xavier should have been shadow boxing.

Bringing a new theatrical work to the stage is fraught with challenges, demanding a symphony of creative minds, unwavering passion, and experience. The respect I have for Definition Theatre begs me to question some of their creative decisions.

“Judy’s Life’s Work” should have been workshopped. I believe some interesting plotlines were not developed in a rush to produce this work. True, Webb scored a  big hit with “The Light” but as anyone on Broadway will tell you, you’re only as good as your last show. I question the hiring of Michelle Renee Bester as director and Jessica Moore as assistant director. Why choose the associate director and stage manager of The Black Ensemble Theatre as your director and assistant director? Black Ensemble Theatre is a wonderful theatre for musical revues.  Black Ensemble isn’t known for original work, especially plays, so I’m at a loss. Nothing in these beautiful women biographies suggest they have the experience to shepherd new work to the stage.

 Xavier, the character, has gray hair. Rashun Carter, an excellent actor,  powders his hair so it appears gray. Now, it may work in high school where there are restrictions on casting, but in a professional production you would cast an actor with gray hair. An experienced director would know it takes more that gray hair for a man to appear to be 43. Carter, for all his wonderful acting, never appeared to be 43 and there was no one in the room to direct him on how to act 43. His character never got past his anger. It wasn’t his fault; he was doing as he was directed.

Cereyna Jade Bougouneau is a spirited Charli. She knows her brother and she knows where his fault lines are. Bougoneau’s energy gave the script a much-needed boost.

Kenesha Kristine Reed is dastardly as the pharmaceutical mole infiltrating the family. I’m sure I’ll be seeing more of her work.

The cast in general worked well with each other. They are extremely talented though I don’t think they were challenged enough.

The set, the inside of a boxing gym, by Alyssa Moon Thompson, was beautiful. Did it serve the story? I’m not sure, it seemed like a lot of unused space since there was no actual boxing going on. There was some important dialogue too far away from it’s intended person to land the way it should….again, direction.

The promise I see in Definition Theatre is truly inspiring. I am confident they will create remarkable work, although not without its challenges. Webb, a budding playwright, requires the seasoned wisdom of experienced individuals to ensure her plays reach their full potential. This play has potential.

When: Through Feb. 25

Where: Definition @ 55th, 1160 E. 55th St.

Running time: 1 hour, 30 minutes

Tickets: $31 at definitiontheatre.org

Terence Blanchard's "Champion" delivers a powerful blow to the stage, not through physical force but with its emotional resonance. Based on the life of  boxer, Emile Griffith, the opera is told through the memories of an older Griffith, (played by Reginald Smith, Jr.)  Suffering from dementia and a lifetime of pain and regret the older Griffith  prepares for a meeting with Benny Paret Jr. the son of his one-time opponent, Benny “The Kid” Paret. (both Parets are played by Leroy Davis)

We travel to St. Thomas, where, abandoned by his mother, little Emile, (played by Naya Rosalie James, exhibits signs of sensitivity which his fanatically religious cousin view as demonic. Cousin Blanche verbally and physically abuses him. Having him stand in the island sun holding a cinder block above his head only served to make him physically and emotionally strong.

Confident in his abilities as a singer, baseball player and hat maker, Young  Emile Griffith (played by Justin Austin) arrives in New York City.  He reconnects with his elusive mother (Whitney Morrison) and is introduced to Howie Albert (played by Paul Groves ) the owner of a hat manufacturing company. Albert notices Griffith’s muscular frame and guides him to the boxing ring becoming his manager.

Emile Griffith’s life is a stark reminder of the era he lived in. In the hyper-masculine realm of boxing during the 1960s, homosexuality was an unspoken taboo, a secret that could destroy careers and lives. Griffith's inner conflict is palpable - he is a champion in the ring, yet forced to live a double life, constantly repressing his identity from a world that would not tolerate it.

The opera's most poignant moment comes in the aria “What Makes a Man a Man?” Griffith grapples with society’s toxic definition of masculinity. Blanchard's haunting jazz-infused score underscores the question, making the audience acutely aware of the psychological toll that repression and denial were taking on a man trying to conform to an impossible standard.

The pivotal moment of the opera is the fateful fight with Benny “Kid” Paret. Paret's homophobic taunts, cruel words wielded as weapons, pierce Griffith's carefully constructed facade. While audiences may have suspected Griffith's private life, like the unspoken reality of JFK's affairs, public discussion remained taboo. Benny “The Kid” Paret crossed an unforgiveable line in the mind of the very proud Griffith.  In a burst of blind rage, Griffith's pent-up pain and frustration violently boil over, and he delivers the tragic blows that end Paret's life ten days later.

The libretto missed an opportunity for deeper exploration. Instead of delving into Emile Griffith's inner world at his career peak and aftermath, it presented extraneous scenes. A fabricated marriage, a warning aria from his mother, and a sexually charged encounter in a gay bar, though interesting individually, felt tangential to the core narrative. These detours could have been replaced with moments that illuminate Griffith's psyche, motivations, and struggles, offering the audience a clearer understanding of the complex man behind the champion. Additionally, the inclusion of Griffith’s adopted son and caretaker, Luis Rodrigo Griffith's (played by Martin Luther Clark)  story and the development of their relationship could have offered a powerful layer of complexity and provided a window into the challenges and triumphs of navigating identity and love in a complex world.

Through Griffith's journey, "Champion" shines a spotlight on the lingering prejudices within the world of sports. Even today there are athletes who feel they must hide their sexuality for fear of rejection, discrimination, or even violence. Their struggles are real. Their stories deserve to be heard.

Blanchard’s score is a masterful blend of jazz and classical styles. It mirrors the turbulent emotional world of Griffith, sometimes mournful, sometimes furious, always stirring. The opera leaves a lasting impression, resonating long after the curtain falls.

In collaboration with “Champion” is an exhibition of Patric McCoy’s seminal collection of Black male photography, curated by Viktor L. Ewing-Givens of Southern Android productions. “Concrete, rose” is an exploration of Black men wanting to be seen. “Champion," becomes a mirror in which the striking portraits of "concrete, rose" are reflected. Both the opera and the photographic collection delve into the often-concealed lives of Black men, their struggles, their sexuality, and the delicate dance they perform at the intersection of personal truth and societal expectations.

"Concrete, rose" exhibit (left) and photographer Patric McCoy

The characters in “Concrete, Rose” and Emile Griffith could easily be contemporaries, existing in worlds that have evolved but are still shaped by the same biases and expectations. Sports, much like other arenas of public life for Black men, are often hyper-masculine spaces, leaving little room for the fluidity of gender and sexuality.

“Champion” is a testament to the psychological toll exacted on those forced to compartmentalize their true selves. And, like “concrete, rose,” the opera stands as a reminder of the ongoing struggle Black men, particularly Black LGBTQ+ men, face in a world that often rejects those who dare to exist outside of narrow societal definitions.

More than a story about a boxer, "Champion" is a story about the battle for acceptance — for oneself and, more broadly, from a world still grappling with the nuances of sexual identity. In its collaboration with "Concrete, Rose," the opera expands a necessary conversation, bringing to light voices that are often unheard, revealing truths that have long been veiled.

When: 2 p.m. Jan. 31, with four additional performances through Feb. 11

Where: Lyric Opera House, 20 N. Wacker

Tickets: $49-$339

Info: (312) 827-5600; lyricopera.org/champion

Did you hear about the rose that grew from a crack in the concrete? Proving nature's laws wrong, it learned to walk without having feet. Funny, it seems to by keeping it’s dreams; it learned to breathe fresh air. Long live the rose that grew from concrete when no one else even cared.

― TUPAC SHAKUr

www.lyricopera.org/shows/upcoming/2023-24/champion/concrete-rose/

For three decades, STOMP has captivated crowds with its dynamic percussion beats and mesmerizing performers. The sensational stage show is presently on a National Tour across the United States and has made a stop at Chicago’s Broadway Playhouse! By seamlessly combining dance and performance with music generated from ordinary found items like matchboxes, brooms, garbage cans, plastic barrels, and even the kitchen sink, STOMP offers a truly unique and unforgettable experience that you absolutely shouldn't overlook.

Buzz Center Stage had the unique opportunity to interview John Gavin, a long-time member of the STOMP cast. He holds a Bachelor of Music Education from the University of Central Florida and a master’s degree in music from New York University. He has been with STOMP since 2017.

Drummer/percussionist John Gavin stars in STOMP now being performed at Broadway Playhouse.

John, thank you for agreeing to this interview. How did you get involved in STOMP?

Sure. I took an audition for STOMP in 2017 in New York. I had recently moved to New York the year before to start grad school at New York University. Halfway through the year my professor sent out an email to the percussion studio saying the producers were holding auditions at the theater, and strongly encouraged the percussion studio to audition. I knew a performer who had previously been part of the show, and thanks to the NYU network, I managed to connect with them. They shared insights about the show, highlighted key aspects to focus on during the audition, and provided some helpful pointers. Despite the guidance, I had to put in the effort, attend the audition, and showcase my abilities. The support from NYU's alumni network and community played a significant role in facilitating the entire process. I auditioned and progressed through multiple rounds of the audition process. They had me work with additional props to see how well I did as well as in different situations with different performers to stretch my ability to adapt and think ahead and retain information. From that audition process, I moved through the rounds and got offered a rehearsal contract where I was taught the show by rote and learned piece by piece from the training cast. They taught me the parts of the show and I learned my role while still getting evaluated. This happens before you get put into a show.

You're finally put into a show after weeks and months from the very first audition. It takes a long time to get it into your body and learn the choreography and learn the music. If you're lucky enough to have made it that far, you'll keep developing your show and keep honing your craft. And I've been doing that since 2017, still learning new roles and learning new characters, still having just as much fun as the first day I picked up a broom.

So, the show evolves on a regular basis?

That's the thing. It will start with an idea. They will start an idea with a prop or an object, and how can we make sound out of this? Where is the sound? And then from that sound, how can we elaborate on it? How can we change it? How can we make it more interesting? What are other ways we can play it or flip it or spin it, or exhaust all the sound capabilities and visual capabilities of that object into the show? And that's what keeps people engaged. If they're longtime fans of the show, if they see it again, they'll see these new props. We have two new numbers since the last time we were in Chicago. Even the old numbers are always getting edited if a new performer comes in and maybe puts their own spin on it.  That's how the show has new life and every generation that comes in, every new cast will have their own background and have their own experiences that they will put into the show as well. And that keeps it fresh.

Great. The show seems very energetic. A lot of energy is expended on stage. Do you have any kind of workout regime to keep your energy up?

We put a lot of emotion and passion into the show because first and foremost. We have a lot of fun with it. We really love our jobs. We really love bringing this kind of art form to the people of Chicago, to the people of the United States, Canada and Mexico. As soon as I get on stage or as soon as the lights come up, or as soon as I hear the music, I can't explain it, but it still gives me energy.

These same rhythms I've been hearing for years that I've been playing for years are just as exciting as the first time I heard them.

For me and other performers going to the gym, lifting weights, running, a lot of stretching, and yoga or maybe Pilates helps the body move more naturally and ergonomically in the show. I like to go to the gym at whatever hotel we're staying at and lift weights. Nothing too extreme of course, but something to allow me to build up a little bit of strength and stamina and endurance so that when I get into the show, my body is not totally exhausted. I still always want to have a little gas in the tank for the very end of the show. It builds and climaxes in this big number that I still must have something to give. Musically, I'm always practicing. I always travel with my drumsticks and drum pad.  I have a bunch of books with different exercises, and I play with the metronome. I'm always working my hands.

That's always a part of my routine, it keeps me focused and interested and always trying to develop new things, like I'm going to try a new stick trick tonight, or I'm going to try playing a different solo. Keeping it interesting for us as a performer also makes it feel fresh.

Tell me, who are some of the people you look up to, the people that molded you?

For sure. Well, first and foremost, I've always had a great family. I was blessed with two loving parents and an amazing sister who always instilled love in my life and made the world feel so accepting, loving and fun. Even with my extended family, my aunts and uncles, I'm very close with my cousins. I still have a grandmother and I love every moment that I get to share with her. The foundation I had growing up with allowed me to go at life without really being afraid of anything because I knew I had their love and support no matter what.

From there, I've been blessed with some amazing educational opportunities. I've had some great teachers in my day from English class, even to math class, music and band. I had some great professors in college that really expanded my mind and repertoire and abilities and really pushed me in the right way.  I attribute all the knowledge I have to any teacher that was patient enough with me and was able to give me a chance to see my potential. Having a good teacher is pivotal or having a good mentor as we grow up is important for young people. My cast, I feel very lucky to be working with them. It doesn't feel like work. It feels like fun because they're laughing and we're having a good time with each other. We're playing off each other's choices on stage, and it really feels like a family and a community.

How long is this tour and how do you manage being on tour for so long?

Sure. Oh, I'd also like to say I have a wife. I got married last year. I have an amazing support system in my wife that also answers this next question. Her love and acceptance for what I do and her patience with my career is also extremely pivotal and important in my life to give me that backbone and give me that foundation. We started the tour in October, and we're going until the middle of June. This is long as far as STOMP tours go in North America, hitting various cities, both big and small from both coasts, a couple of cities in Canada as well, we're really looking forward to being with our northern neighbors.

We'll have what we call layoffs. So, for example, after this run here in Chicago, we're all being sent back home to our point of origin, which is different for each cast member. Some of us are from New York City, like me, some are from San Diego, some are from Fort Lauderdale, some are from North Carolina... At home, different people will do different things. Some people will take a break to rest their mind and body. Some of us might pick up some temp work. I like to teach and spend time in classrooms on my time off. Some people will practice or can continue to network during those times off. And it's typically about a week or two weeks, and it's a great time to kind of connect with loved ones and allow yourself to heal and freshen up and get a lot of errands and chores done.

It can be hard. Traveling is tough on the body. Air travel can be stressful nowadays. We are often on the bus for a long time if the cities are a far distance. In a lot of cramped quarters, making sure that you don't lose anything. You're bringing a lot of your valuables with you, passports, laptops, these things can get lost or stolen. That all adds to the stress of tour life and it's on you. Even though we're traveling as a company, and a company does a great job at taking care of that, you still must navigate a new city. You must be safe and thoughtful about your surroundings. During those layoffs, it is nice to reset and take a breath for yourself before you go out for maybe another six or eight weeks or however long it is.

Sounds interesting.

But it's an adventure too. It's an adventure, which makes it fun and gives life, because we all know it's not forever. We can't do this until we retire. There's no way. It's too hard on the body. So, all of us are very grateful, myself included, for these opportunities, for these moments and connections. We’re really looking forward to our time here in Chicago.

You mentioned something I find interesting, what do you plan on doing after STOMP?

Great question. Yeah, so I still have a lot of dreams and music and goals within music. I still have a whole career ahead of me in terms of performing arts. On the other side of that, I'm really interested in teaching. I have a degree in education. I think education is very important in our society and in daily life, and I have a great respect for it and admiration for great teachers and the work they do. So, I would also like to be a part of that, and hopefully one day have my own classroom and have my own private studio and have my own set of students that I can shape and mold and impact in a positive way for them to go and take something in their life and make something special on their own. That's another project that's down the road, but what I'm hoping to continue after STOMP.

That's beautiful, John. Thank you so much. Have a wonderful tour. Happy holidays to you, your family, and your friends.

Don't miss STOMP!

When: Through Dec 31, 2023

Where: Broadway Playhouse at Water Tower Place

Running time: 1 hour 45 minutes – no intermission

Tickets: $35-$80                    

https://www.broadwayinchicago.com/shows/stomp/

Going through the doors of the Rhapsody Theater on Morse Avenue is like stepping through a time portal. The 1919 theater was gorgeously renovated last year from a wedding and events venue back to the stunning theatre it was meant to be. There is a large dark mahogany bar serving specialty drinks appropriately named for the show you are about to witness. Drinks with names like Digital Elixir, Amazed & Confused, and Sleight of Spice are a tip-off to the feats of magic you are about to witness. You are guided through a door to a theatre with cabaret style seating.  There are mahogany tables and chairs situated around a large stage.

This magic show is like nothing you’ve ever seen while being very familiar. It is aptly named “Amaze”, but you will be so much more than amazed. “Amaze” is the brainchild of magician Jamie Allan. With a name like Jamie Allan, you just know he’s English, born in 1977 in the United Kingdom. The performance showcased the talents of a modern magician who skillfully married the charm of classic magic with the wonders of the digital age. During the show we learn Jamie’s childhood hero is the late Steve Jobs, co-founder of Apple. This is not your standard magic show.

From the moment the lights come up, the audience is transported into a realm where the old and the new coexist in perfect harmony. The magician began with classic card tricks captivating the audience with expert sleight of hand that harkened back to the golden era of magic. The execution of these timeless tricks was flawless, demonstrating the magician's mastery of the fundamentals.

What set this show apart, however, was the seamless integration of modern technology. Throughout the performance, the stage came alive with dazzling visual effects. The combination of traditional magic and state-of-the-art technology created an immersive experience that left the audience in awe.

One standout moment involved magician Allan asking everyone in the audience to take out their cell phones. I am sworn to secrecy, but this innovative use of technology not only added a layer of astonishment but also engaged the audience in a way that traditional magic alone might not achieve.

The lighting and music complemented the magic show, creating an atmosphere that enhanced the overall sense of wonder. The synchronized play between the magician's movements and the technological elements showcased a meticulous attention to detail in both performance and production.

Jamie’s charismatic stage presence and engaging storytelling further enriched the experience. The show was not just a series of tricks but a narrative journey through his childhood.

"AMAZE" succeeded in delivering a magical experience that appealed to both traditionalists and tech enthusiasts. It showcased the enduring charm of classic magic while demonstrating the limitless possibilities that technology brings to the art form. This captivating blend of tradition and innovation left the audience with a sense of wonder that lingered long after.

Top of Form

When: Through Jan 7, 2024

Where: Rhapsody Theater 1328 W. Morse Avenue

Running time: 2 hours –1 15 intermission

Tickets: $35-$100 at 888-495-9001 and This email address is being protected from spambots. You need JavaScript enabled to view it..

“The Wiz”, a retelling of the classic, L. Frank Baum’s The Wonderful Wizard of Oz was the perfect show for its time when it opened on Broadway in 1975. Despite a closing notice posted on its opening night, it went on to win seven Tony Awards including Best Musical. This was in large part due to the tenacity of its 32-year-old African American producer (more on him later).  It made household names of its stars, Stephanie Mills as Dorothy, Hinton Battle replacing Comedian Stu Gilliam as the Scarecrow, Ted Ross as the cowardly lion and André De Shields as The Wizard. Written by William F. Brown with music and lyrics by Charlie Smalls, the show’s message of self-reliance and determination coupled with hope and empowerment was a powerful antidote to the cynicism and despair in America. The collaboration between Brown, Smalls and choreographer George Faison created an honest, heartwarmingly innocent production full of humor, excitement and most of all, heart.

Well, “The Wiz” has grown up and with it comes some growing pains.

I admire Amber Ruffin. She was a smart comedian on “The Daily Show” and a skilled comedy writer. She did an excellent job with “Some Like It Hot”.  The Wiz creates different challenges. I can understand a backstory in song, but the additional dialogue seemed to weight this production down. The pace was completely off in the first act.  I didn’t find the backstory of the Scarecrow, Tin Man or Lion very interesting or necessary.  As a child I felt the trio were characters Dorothy met along the way to the Emerald City nothing more. As I got older, I realized these characters could be seen as symbolic representations of different aspects of Dorothy’s personality. If additional material was needed I would have much rather Ruffin look forward than backwards. If these characters needed more story, I want to know where they are going, not where they’ve been. I would have liked the Wizard to be clearer in his explanation of why he was leaving OZ, seems kind of crude on his part.

There is a wealth of talent in this cast. Chicago’s own Melody A. Betts shines in the dual role of Aunt Em/Evillene. Deborah Cox as Glinda the Good Witch was another standout. I would suggest the ladies in this cast find the emotional depth rather than relying on vocal acrobatics. Runs and riffs convey vocal ability, which we know this cast has, it does not convey emotion.

I loved Nichelle Lewis as Dorothy. I’m sure with time she will understand the emotional journey Dorothy is on and her moments will come organically. Lewis has quite the voice. If Lewis learns to trust the music and lyrics, they can inform her emotional state. There were a few times, Lewis was ahead or behind the music because of her insistence on showing her musical range. Some of her vocal runs were self-serving and it took away from the emotional intensity. Sometimes it’s more powerful to whisper.

Avery Wilson has a sweet voice as The Scarecrow. I would have loved to hear him sing “I Was Born on The Day Before Yesterday” It would have given more depth to his character and I’m sure he would have risen to the task. The powers that be opted for the safe and popular “You Can’t Win”. (from the movie).

I would have loved to see more “mean” in Kyle Ramar Freeman’s lion, but his voice made up for any shortcomings. He was bold and entertaining if a bit corny, but I’ll allow it.

Phillip Johnson Richardson brought joy with his every move. It’s interesting, the character searching for a heart gave the most heartfelt performance of the evening. His “What Would I Do If I Could Feel” was a touching lament.

The costumes for this show are top-notch, although for the life of me, I don’t understand what Costume Designer Sharen Davis was going for with the Lion’s costume. Someone in the audience yelled as Glinda was exiting the stage …. “It’s the dress for me!” It was also the hair, wigs and make-up, excellent job.

The visuals did not stop there. The set, with projections by Daniel Brodie, scenic design by Hannah Beachler and lights by Ryan J. O’Gara brought this world, whether in black and white Kansas, A New Orleans style street celebration or an Afro-Centric Emerald City made to be dismantled, to life. No detail was too small. Grand set pieces moved with ease and precision. This is a big production.

As I’ve said before, this is a talented group. I was slightly underwhelmed by the tornado scene. It seemed very tame. Well done, but tame. The choreography by Jaquel Knight, a relative newcomer to the Broadway stage had some truly exciting elements to it and I see his influence growing.

This production will find the sweet spot between old and new. It will find the proper pacing and it will have an extended run in New York. How do I know? It’s gonna be a new show when it leaves Chicago.

Ease on down and see The Wiz!

Post Note:

This show has more than 50 producers, which brings me back to the 32-year-old sole producer of “The Wiz” circa 1974, In 1971, Kenneth Harper was an ex - disc jockey at WPIX radio in New York City. He came up with a concept to take the Frank L. Baum Book “The Wonderful Wizard of OZ” which then became a movie starring Judy Garland and turn it into a Top 40’s style Black musical comedy.  He noticed in the top ten songs on Billboard or Cashbox, at least 5 of them were by black artist. The Motown sound was marketable, and it was selling to Blacks as well as Whites. Kenneth Harper commissioned William F. Brown (a white guy) to adapt the “The Wonderful Wizard of Oz” for an African American cast and Charlie Smalls to write the music. For the next three years Kenneth Harper shopped this concept to anyone who would listen. He finally found a buyer in 20^th Century Fox. In exchange for the all the rights of the production (film, publishing, album) they gave Kenneth Harper $650K with a 20% overcall (which he would need) After a tryout in Baltimore, “The Wiz” opened on Broadway to horrible reviews. Instead of calling it quits, Kenneth Harper did something extremely rare for the time. He used the 20% overcall and brought radio and television ads. It was not standard practice for Broadway shows to advertise on radio and TV. In New York City you couldn’t listen to the radio without hearing an ad for “The Wiz”, same with television. A week later The Wiz was selling out. They won 7 Tony awards, and the rest is history.

Kenneth Harper died January 22, 1988, at the age of 48.

It breaks my heart to imagine what could have been.

I’m donating in Kenneth Harper’s name to Broadway Cares/Equity fights AIDS                                            

I don’t want his memory lost; quasars come along so very rarely.

If you’d like to donate the link is below

https://donate.broadwaycares.org/give/140654/#!/donation/checkout

When: Through Dec. 10

Where: Cadillac Palace Theatre, 151 W. Randolph St.

Running time: 2 hours 30 minutes

Tickets: $55-$195 at 800-775-2000 and www.broadwayinchicago.com

This December 16th and 17th, immerse yourself in the joyous spirit of the season with "A Christmas Cabaret - Thee Ricky Harris Way" at the Mercury Theater. Thee Ricky Harris is not only an accomplished musical theater professional but also the host of the online series “Places”.  This delightful evening promises a unique take on your favorite Christmas songs, delivered with Thee Ricky Harris' signature flair and charisma.

Expect a heartwarming blend of holiday classics and soulful interpretations, sure to get you swaying and singing along. The intimate setting of the Venus Cabaret Theater ensures an unforgettable experience filled with warmth, laughter, and festive cheer.

Whether you're looking for a romantic date night or a fun outing with friends, "A Christmas Cabaret" is the perfect way to escape the winter chill and embrace the magic of the holidays. Don't miss out on this heartwarming celebration that will leave you feeling merry and bright!

HIGHLY RECOMMENDED

When: Through Oct. 15

Where: Mercury Theater at The Venus Cabaret Theater 3745 N. Southport Avenue Chicago

Tickets: $25

Info:  (773)360-7365

           This email address is being protected from spambots. You need JavaScript enabled to view it.

“Once On This Island” is receiving a spirited and lively revival by Pulse Theatre at the once venerable ETA Creative Arts Foundation, now a rental space on the Southside of Chicago.

Set in the French Antilles, namely Haiti, this vibrant production rivals any Broadway In Chicago production. It is a large production with a cast of 25, including young children. The story follows the star-crossed love between Ti Moune, (the captivating Alexandria Simone Irby) a young peasant girl with a yearning for something more than her humble existence would allow and Daniel Beauxhomme (the gifted David Taylor) the son of the lighter skinned grand hommes who are rich and comfortable. Their romance is challenged by class and racial prejudices, quite a lot for a fairytale, luckily the gods are there to guide them. The gods, inspired by Haitian Vodou are Asaka (Marquetta Jackson) mother of the earth, Agwe (Kendall Devin Bell) God of Water, Erzulie (Paige Rene Brown) Goddess of Love and Papa Ge (Isis Elizabeth) the Demon of Death.

These four gods, each with their unique domains and influences, play a significant role in shaping the narrative of “Once on This Island” They test the characters faith, challenge their choices, and ultimately determine their fates.

Director Aaron Reese Boseman and Associate Director and Choreographer Florence Walker-Harris masterfully weaves dance and movement into the narrative, creating an immersive and captivating atmosphere. The audience is swept away by the energetic calypso rhythms, ecstatic ritual dances and even a jazzy French quadrille. All are seamlessly integrated into the storytelling.

The staging is further enhanced by the extraordinary work of scenic designer Russell Hogenson’s interpretation of the Palace of Sans-Souci in Haiti. Although I would have liked to see an actual gate separating the peasants from the leisure class, the artistry of the set cannot be denied. The same can be said for the lighting design by Levi Wilkins. The light show was unbelievable. The storm scene was so realistic. My issue is when the actors are performing in the voms, they must be lit. There are beautiful tableaus happening in the voms, unfortunately they are happening in darkness. Costume designer Terri Devine’s creations were otherworldly. They brought a tropical wonderland to life. I especially loved the dancers with magical lit umbrellas indicating a rainstorm.  All these elements blended beautifully together to tell this story.

The music of “Once on the Island” is a delightful fusion of Broadway showtunes and Caribbean styles. The melodies are catchy and memorable, the lyrics witty and insightful. Pulse’s three-person band headed by Elliott Bell creates the idea of a much larger band. Every song is a production number. There are times when the band overpowers the singers especially in the song “Some Girls” sung By Daniel. Percussion isn’t needed. David Taylor, who has a beautiful voice, is competing with the arrangement.

The talented ensemble cast delivers powerful performances, each bringing their unique energy to the stage. Liane Williams as Mama Euralie, Keenen Wilson as Ton Ton Julian and Paige Rene Brown as Erzulie was quite impressive in a phenomenally talented cast.

“Once on This Island” is more than just a musical; it’s an enchanting tapestry weaving together love, loss and the enduring power of storytelling. It reminds us of our lives are shaped by the stories we tell ourselves and the stories we share with others. Pulse Theater’s “Once on This Island” transports their audience not only to a distant tropical island but to the depths of their own heart.

This production should really have a much longer run. It is a excellent production and many more people should be seeing it. Why such a short run is beyond me.

Highly Recommended

When: Through Nov. 19   Sat 3:30 and 8 pm Sun 3:30 pm

Where: eta Creative Ars Foundation 7558 South Chicago Avenue

Tickets: $45 – $35 seniors / $25 Students and children under 18

“Put someone inside of a box and cut them in half, people think it’s magic. They think it’s a special box. But, tear up a dollar and restore it right under their nose, or look into their mind and read their thoughts, or make something magical happen in their very own hands…. That is an experience they will never forget. – Ed Watkins

The Magic Parlour presented by Goodman Theatre & Petterino’s Restaurant is an absolute tour de force of mind-bending entertainment that left the audience in awe and wonderment. From start to finish, the performance was a seamless blend of astonishing sleight of hand, uncanny mentalism and captivating showmanship.

The showman of this production is Dennis Watkins, a third-generation magician, actor and entertainer. His critically- acclaimed show The Magic Parlour is currently running in the opulent lower-level of the iconic Petterino’s Restaurant on the corner of Dearborn and Randolph.

Dennis Watkins mastery of card manipulation was nothing short of extraordinary. With lightning-fast dexterity and precision, he effortlessly controlled the deck, making cards appear and disappear in ways defying logic. Every move was executed flawlessly, leaving even the most skeptical (me) observers scratching their heads in amazement.

What truly set this performance apart, however, was the incorporation of mentalism. Watkins demonstrated an uncanny ability to read minds, predict choices and even influence the thoughts of volunteers from the audience. The mind-boggling feats left the crowd gasping in disbelief. As a volunteer, I tried my best to stump Magician/Mentalist Dennis Watkins to no avail. He guessed with precision, I might add, and it blew my mind.

The production values were also noteworthy. The lighting and sound design were expertly calibrated to enhance the overall experience, ensuring every subtle move and gesture was visible in this intimate venue.

The cocktail menu is a delightful highlight, showcasing specially curated drinks tailored for the occasion. Additionally, a complimentary drink (which includes options like beer, wine cocktails or soft drinks) is included in the price of the ticket, adding an extra touch of hospitality to the experience.

With a VIP admission, after the show you will be escorted to a private space where you will sit with Chicago’s top magician, Dennis Watkins, for another half hour of magic and a question-and-answer session. He doesn’t give out his secrets, but the up-close magic will have you asking lots of questions.

Whether you’re a die-hard magic fan or a casual observer, this show is guaranteed to leave you spellbound and eager for more. Don’t miss the opportunity to witness this exceptional magician in action – it’s an experience you won’t soon forget.

Where: 50 W. Randolph Chicago, Illinois 60601
Info: www.themagicparlourchicago.com
Tickets $85.00 - VIP - $115.00

GRACE -- “Let me try to explain something to you. The Nacirema Society is not a social service group nor a political organization. Our challenge and our joy is to celebrate the best of us, not by giving scholarships and financial assistance, but by recognizing the fact that there are some of us who don’t need it [a beat}. Who has never needed it." - From the script, "The Nacerima Society..."

Commissioned by The Alabama Shakespeare Festival in 2009, “The Nacirema Society Requests the Honor of Your Presence at a Celebration of their First One Hundred Years” comes to The Goodman Theatre thanks to the association its Artistic Director, Susan V. Booth, has with playwright Pearl Cleage. Chicago theatergoers cannot be happier. “The Nacirema Society Requests….” is a laugh out loud spectacle.

As some may have noticed “Nacirema” is simply “American” spelled backwards. Cleage borrowed the term from a satirical essay by Horace Miner, an anthropologist. Miner believes what one culture does and believes to be normal, others may see as unusual. Cleage feels African Americans have been forced to adopt values and norms of white society to survive and this process of assimilation has come at a cost.

Montgomery, Alabama, 1964 conjures up feelings of dread for African Americans. The play is set 10 years after the Montgomery bus boycott, and there are freedom rides into the deep South, challenging segregation. African Americans, under the tutelage of Dr. M.L. King Jr., are gearing up for a march from Selma to Montgomery to demand voting rights. But to Grace Dunbar, doyenne of the exclusive Nacirema Society, nothing is more important than its upcoming 100-year celebration ball. That set-up, in and of itself, begs one to laugh.

From the moment we meet Grace Dubose Dunbar, portrayed brilliantly by the exceptional E. Faye Butler, we know we must mind our manners. She is a high strung, outspoken, aristocrat. For a glimpse into her personality, one need only to remember Dunbar rhymes with bourgeois. She’s in the midst of preparing her granddaughter, Gracie, brought to life wonderfully by Demetra Dee, for the debutante ball organized by the Nacirema Society.

Assisting Grace is her dearest friend and fellow society member, Catherine Adams Green, played with an air of affluence by the talented Ora Jones. Catherine, being sure her grandson, the dashing Eric Gerard as Bobby Green, will propose to Gracie, has planted a story of their engagement to the local society papers. Gracie and Bobby have absolutely no intention of marrying, but out of respect for their grandmothers, they play along with the charade, at least until after the ball. Marie Dunbar, Grace’s Daughter-in-law and Gracie’s mother is aware of Gracie’s intentions and fully supports her. She is played by Sharriese Hamilton with strength and honesty.

Janet Logan, a reporter, played with steely resolve by Jaye Ladymore, will be covering the Debutante Ball for the New York Times. She will be the houseguest of Grace Dunbar, creating an extra layer of anxiety for Madame Grace to get everything just right. As if having a reporter from a major newspaper breathing down her neck weren’t enough, the daughter of the Dunbar’s late former maid, Alpha Campbell Jackson, a devious portrayal by Tyla Abercrumbie, is in town with her daughter Lillie Campbell Jackson, a lovely turn by Felicia Oduh to settle a family affair. Everyone gets more than they bargained for.

In a non-verbal role Shariba W. Rivers nearly steals the show as Jessie Roberts, the maid of Grace Dunbar, proving once again, there are no small roles.

The dual set for this production can only be described as a conspicuous display wealth. Arnel Sancianco, set designer, did a visually amazing job of creating a 1960’s upper middle-class home. There is a great room with a crystal chandelier hanging in the center. The furnishings are noticeably french, with several seating areas. There is a set of stairs leading to a library that is just as opulent as the rest of the home. The home of the late Lillie Campbell is just as impressive in its scope, a 1960’s working class kitchen with colored refrigerator and matching cabinets. Costume design by Samantha Jones was gorgeous. I can tell she likes working in this era. The jewel toned dresses were fabulous.

Cleage's is work is known for its sharp wit, and insightful commentary. “The Nacirema Society” shows her ability to combine humor with social critique. It is a thought-provoking look at the dynamics of a specific segment of African American society all wrapped up in a romantic comedy. Lili-Anne Brown did a fantastic job directing this situational comedy, she keeps the ball and the tension in the air, and despite the running time, makes us forget about the worries in the world, exactly what a comedy should do.

“The Nacirema Society” runs through October 15 at the Goodman Theatre in Chicago.

There is a Pearl Cleage festival in Chicago. Most of the events are free. You can get details at https://www.goodmantheatre.org/event/pearl-cleage-fest/

I have seen “Blues for an Alabama Sky” several times, all very good productions. However, the production by Remy Bumppo in the intimate space of Theater Wit was sublime. 

As soon as you walk into the theater, you are transported to an apartment building on iconic Lenox Avenue in the heart of Harlem in the 1930’s. The production design is truly remarkable. Lauren Nichols’ depiction of a Harlem tenement complete with fire escape and two apartments on each floor, encapsulates the essence of tight-knit living in New York City. The meticulous attention to interior details provides valuable insight into the lives of its occupants.

This setting is beautifully enhanced by Becca Jeffords’ carefully crafted mood lighting and Ricky Harris’ evocative 1930’s musicscape. Set against the backdrop of the Harlem Renaissance and the opening salvo of the Great Depression, Pearl Cleage’s poignant play masterfully weaves together themes of love, loss, ambition and social change. Each character is searching for their identities and places in the world. They all experience love whether romantic, platonic or familial and the sacrifices made for love. They experience loss but are never defeated.

More than anything, they dream. They dream big dreams and they have the tenacity to bring them to fruition. Cleage created multi-dimensional characters, put them in proximity, sat back and
let them live. The characters are truly the heartbeat of this production.

Tiffany Renee Johnson, evoking a young Diana Ross, fully embodies the role of Angel. She exudes a magnetic charm, begging everyone to love her but unable to reciprocate the love she so desperately needs and wants. Pearl Cleage, we extend our gratitude for crafting the character of Guy Jacobs. Breon Arzell brings this role to life with grace and authenticity, resisting making him a stereotype.

Delia Patterson who works tirelessly to introduce family planning to Harlem is played by the talented Jazzlyn Luckett Aderele. Aderele’s vocal nuances and gestures transport us seamlessly to a time when women were just learning about agency over their bodies. Edgar Sanchez last seen by me in Goodman’s production of “Toni Stone” disappears into the conflicted persona of Dr. Sam Thomas, showcasing a depth I had previously overlooked. He proves himself capable of portraying a mature, distinguished man with flair.

Ajax Dontavius, last seen in American Blues production of “Fences” as Cory, transforms himself to become Leland Cunningham, the broken, dogmatic paramour of Angel. Dontavius lays bare every facet of this intricate character, leaving the audience captivated.

In Director Mikael Burke’s steady and capable hand, not only do these characters live, they soar. We are introduced to five very different, complex people as well as a host of era specific luminaries such as Langston Hughes, Margaret Sanger and Adam Clayton Powell, they are all real people. Cleage’s dialogue is authentic and resonant, tackling issues of race, gender, and sexuality with sensitivity and intelligence. The plays intersectionality of identity is particularly relevant.

Remy Bumppo’s “Blues for An Alabama Sky” is a triumph. It is a powerful commentary on the human condition. It invites introspection and reflection on our own dreams, aspirations and sacrifices we make to achieve them. It challenges us to confront the complexities of love, friendship, family and societal expectations. This play is a must see for anyone who craves entertaining and thought-provoking theatre.

Also notable, there is a Pearl Cleage festival in Chicago. Most of the events are free. You can get details at https://www.goodmantheatre.org/event/pearl-cleage-fest/

"Blues for an Alabama Sky" runs through October 15 at Theatre Wit, 1229 W. Belmont Avenue in Chicago.