Displaying items by tag: North Shore Center for the Performing Arts

Following a string of successful shows, Music Theater Works has once again hit the jackpot with their 2025 season opener, Guys and Dolls. This delightful production is currently wowing audiences at the North Theatre at the North Shore Center for the Performing Arts. With infectious tunes and clever lyrics by Frank Loesser, and a sharp script by Jo Swerling and Abe Burrows, the show is skillfully directed by Sasha Gerritson. Add to that the vibrant choreography by Clayton Cross and the expert musical direction by Linda Madonia, and you've got a performance that's guaranteed to keep you coming back for more!

Guys and Dolls is a timeless musical comedy that transports audiences to the bustling streets of 1950s New York City. The plot centers around the dynamic lives of several characters, particularly Nathan Detroit, a gambler running an underground dice game, and his enduring fiancée, Miss Adelaide, a nightclub singer longing for Nathan to finally marry her. To fund his next game, Nathan bets Sky Masterson, a high-stakes gambler, that he can't charm Sarah Brown, a virtuous mission worker. Sky takes up the challenge, and through a series of delightful and engaging interactions, he gradually wins Sarah's heart.

As the story unfolds, the characters become woven into a rich tapestry of love, deceit, and redemption. Sarah uncovers Sky's original motives but forgives him as they both realize their deepening love for each other. Meanwhile, Nathan's efforts to keep his dice game hidden lead to a blend of comedic and thrilling situations. The musical reaches a heartwarming and joyous climax, with Nathan marrying Adelaide and Sky and Sarah starting a promising new chapter together. Featuring memorable songs, lively dance routines, and a touching storyline, Guys and Dolls remains a beloved and timeless treasure in the world of musical theatre.

This well-cast ensemble driven production has an array of bright and talented actors that make this such a memorable adventure. Callen Roberts finesses the role of Nathan Detroit to perfection - a gambler who runs an illegal dice game and is engaged to Miss Adelaide. Roberts truly embraces his fast-talking, hustling persona, transforming the character into one of the show's key anchors and a standout presence. Jeffrey Charles is spot on as Sky Masterson, the suave gambler who wagers he can charm Sarah Brown, while Kristin Brintnall steals the spotlight as Miss Adelaide, Nathan's fiancée. Her blend of comedic timing and stellar vocals brings the nightclub singer's longing for a settled life to life brilliantly. Cecilia Iole shines Sarah Brown, a mission worker who becomes the object of Sky's bet but eventually falls for him. Iole’s vocals are nothing short of spectacular. A round of applause also goes out to the rest of the ensemble, who contribute to making this musical the delightful experience it is meant to be. Andrew Freeland brings down the house as Big Julie, serving up some of the show’s biggest belly laughs. Shoutouts are also well-earned by Ian Reed, Carey Lovett, Caron Buinis, Bob Sanders, and Peter Ruger, who each bring their own flair to the stage. And let’s not forget the dazzling Hot Box Girls—Jenny Couch, Catherine Rodriguez O’Connor, Emily Holland, and Emma Jean Eastland—who light up the stage with their sensational moves. These ladies can really dance! The entire cast? Absolutely top-notch.

(L to R) Jenny Couch, Catherine Rodriguez O’Connor, Kristin Brintnall, Emily Holland and Emma Jean Eastland in GUYS AND DOLLS, from Music Theater Works.

One of my absolute favorite things about the show was its incredible Times Square neighborhood set—it felt like you were right in the heart of the action! But what truly stole the spotlight was the eight-piece band playing up above for everyone to admire. Talk about a show-stopping touch! Equally impressive was how choreographer Clayton Cross utilized the stage space to accommodate such a large cast, creating a busy New York feel with heavy people traffic and such elaborate dance numbers.

Guys and Dolls is a must-see production that brings the vibrant streets of 1950s New York City to life with its captivating characters and delightful musical numbers. With unforgettable songs like "Luck Be a Lady," “A Bushel and a Peck,” and "Sit Down, You're Rockin' the Boat," this show is guaranteed to have you tapping your toes and humming along. Don't miss the chance to experience the magic, humor, and heart of this timeless classic—it's a theatrical gem that promises an evening of pure entertainment!

This might be the first production of the year, but plenty of action lies ahead for Music Theater Works. The 45th season lineup also features the following upcoming shows: Fiddler on the Roof from August 7 to 17, Godspell from October 23 to November 16, and Annie from December 18, 2025, to January 4, 2026.

Guys and Dolls is currently being performed at the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd, Skokie and runs through March 30^th. For tickets and/or more show information, visit www.MusicTheaterWorks.com.

Highly Recommended!

Featured on https://www.theatreinchicago.com/

Unlike many of the shows I review, which I’ve often seen in other productions elsewhere, I went into Music Theater Works’ current production of Legally Blonde blind. Other than the couple-decades-old movie the musical is based on, along with a covid-era TikTok fascination that my daughters had with a particular song from the show, I knew nothing about it. That’s always kind of refreshing, isn’t it?

Well, I went into the North Shore Center—always an enjoyable place to see a show—pretty much clueless and I left entertained.

You can tell director Mandy Modic has a real knowledge of, and love of, the source material and the show. Everything is thoughtfully laid out and beautifully executed. This is a put together show, just like the main character, Elle Woods.

Kayla Shipman, starring as Elle, has high heels to fill but she fills them well. As Elle grows and learns about herself, Shipman’s performance becomes more confident and assertive as the show progresses, making this the Y2K roman a clef the story calls for. The supporting cast sings, dances, and acts as Elle takes her journey—filling the show with the memorable people she meets. Korey White looms over proceedings as authoritative and suspect Professor Callahan. Amanda Handegan’s fitness-queen-turned-accused-murderess Brooke Wyndam brings us back to the days of the aerobics DVDs she’s shilling—before launching the show’s uproarious second act with an orange-is-the-new-black prison jump rope number. And Khaki Pixley’s hairdresser Paulette Buonofonte takes us to a whole other world every time we enter her salon, a realer world far from snooty tweed higher education or Greek life.

Each of the worlds we enter in this show are beautifully created by Scenic Director Shane Cinal. From Elle’s sorority house to the hallowed halls of Harvard to Paulette’s beauty parlor, each set pops visually and transports the audience.

But, like many good shows, it’s the ensemble that makes this one. Each and every member of this cast gives it their all. From sorority sister singalongs to a Greek chorus, from folks getting perms to a courtroom full of plot twists, the ensemble created each scene and populated it with movement, humor, talented vocals, and humanity. And each member received their moment to make the audience hoot and holler—with Isaiah Engram’s deliveryman Kyle getting the most hoots.

The movement of the show is thanks to the ensemble’s talent, but also features wonderful choreography by Mollyanne Nunn—she puts all of this talent to work in dance after dance and showtune after showtune, filling the stage and catching our eyes from every part of it.

Oh, and that TikTok song I mentioned before? That’s here, too. Morgan Schoenecker leads Elle and the ensemble through the “Bend and Snap,” and the number hasn’t lost any of its charm—for the audience or for the aforementioned daughter who was watching Legally Blonde with me.

Like other shows I’ve seen at Skokie’s North Shore Center, this was a thoroughly enjoyable production. Music Theater Works and Mandy Modic take their audience back two decades to tell us a timeless tale, one you’ll find in Legally Blonde, playing now until December 29.

Music Theatre Works’ Little Shop of Horrors, featuring music by Howard Ashman and a book and lyrics by Alan Menken, is the ultimate Halloween and fall musical for cult hit fans. This spooky, yet fun production captures the essence of the beloved story, making it a must-see for the season.

It all began in 1982 when the off-off-Broadway performances first took place, before moving off-Broadway to Orpheum Theater. But most probably remember the 1986 film adaptation of Little Shop of Horrors, directed by Frank Oz and based on the off-Broadway musical, starring Steve Martin, Rick Moranis, Ellen Greene and Vincent Gardenia. The musical centers on Mushnik’s Flower Shop, a struggling business in a shabby neighborhood. Here, Seymour, a nerdy employee, discovers and nurtures an alien carnivorous plant, which he names Audrey II, after his co-worker Audrey, who he is crushing on. Driven by his love for Audrey and the desire to boost the shop's dwindling sales for Mr. Mushnik, Seymour helps the unidentified plant grow with steadfast dedication. Unfortunately, the food that the plant needs to grow is human blood, and the musical becomes a lesson in being careful what you wish for!

Kayla Shipman truly excels as Audrey. With her lovely presence and remarkable singing voice, Shipman captures the audience's hearts with her sweet and caring personality. This makes the revenge against her abusive, violent dentist boyfriend, Orin Scrivello, all the more satisfying. One of Shipman’s notable numbers is "Somewhere That's Green,” a touching ballad where Audrey shares her dreams of leaving behind her bleak, urban life. She envisions finding happiness in a serene, suburban setting with a home, a yard, and a family filled with love and contentment. This poignant moment unveils her vulnerability and longing for a brighter future. 

(L to R) Kayla Shipman and Jimmy Hogan in Little Shop of Horrors from Music Theater Works.

Jimmy Hogan portrays Seymour as a likable character who must muster more courage to handle the plant's demands. His grounded performance provides a perfect counterbalance to the rest of the cast's comedic extremes. Hogan really shines in his powerful number with Shipman, "Suddenly Seymour.” The song signifies a pivotal moment in Audrey and Seymour's relationship. Audrey comes to see that Seymour genuinely cares for her and offers a brighter future. It's a moment of revelation and reassurance, with Seymour vowing to protect her and demonstrating that she deserves love and happiness. Themes of love, support, and newfound confidence shine through in this heartfelt duet.

The plant comes alive thanks to Najee Musiq Rawls, who voices Audrey II and really impresses during “Feed Me (Git it!).” "Feed Me (Git It!)" is a crucial song in Little Shop of Horrors. Here, the carnivorous plant Audrey II insists on more human blood to grow stronger, luring Seymour with promises of fame, fortune, and love. This song spotlights Seymour's moral struggle, caught between his conscience and the plant's insatiable hunger, heightening the story's tension and propelling the plot forward.

Sam Nachison delivers a standout performance as Orin Scrivello, particularly shining in the number “Dentist!” This song, which hilariously recounts how his sadistic tendencies drove him to dentistry, showcases Nachison's talent and darkly comedic flair. The cast is bolstered by a talented ensemble who deliver strong performances in both dance and song numbers while Thomas M. Shea does an admirable job in his portrayal of store owner, Mr. Mushnik. The show gets an additional lift from its excellent set design, lighting, costumes, and puppetry. Music Theatre Works never fails to produce vibrant and captivating productions.

Although the set begins with a dark and somber feel, it brightens considerably with lighting effects and vibrant costume changes as Audrey II's fame and popularity grow, captivating audiences worldwide. The company excels in strategically staging this wild musical in the intimate North Theatre at the North Shore Center for the Performing Arts in nearby Skokie. 

Little Shop of Horrors is expertly directed by Producing Artistic Director Kyle A. Dougan, with choreography by Reneisha Jenkins and musical direction by Linda Madonia. I recommend this show for audiences aged 13 and over. Though an entertaining story with plenty of humorous moments, the themes in Little Shop of Horrors, such as domestic violence, a sadistic dentist who tortures his patients, and a plant that grows by devouring humans, are questionable for younger viewers, despite the show's renowned puppetry.

Music Theatre Works’ Little Shop of Horrors is currently being performed in the North Theatre at North Shore Center for the Performing Arts through November 17th. For tickets and/or more show information, click HERE. 

I was thoroughly captivated by the remarkable dancers and musicians brought together by Ensemble Español Spanish Dance Theater’s Artistic Director, Irma Suarez Ruiz, and Executive Director, Jorge Perez in their latest production Flamenco Passion at North Shore Center for the Performing Arts. 

The entire company of dancers were of the highest quality and training and the three 2024 guest stars, Raquel Gomez, La Lupi and Antonio Najarro proved that mature dance professionals in their prime (not just in their 20’s) can deliver dance delights that wow an audience and leave them breathless. 

Raquel Gomez was a towering vision of strength and drama in her solo piece, the world premiere of “Resilience.” Antonio Najarro turns up the steam heat with the most spectacular solo display of dance and wildly complicated castanets playing I have ever seen in the world premiere of “Flamenco Tango”.  The entire company came to life in the sexy, smokey and modern “Aries/Flamenco Tango” and company dancers Sammi Micklewright and Jonathan Pacheco shone as the sexiest, most fluid pair of lovers.

Raquel Gomez performing her work Resiliencia. 

But the night was brought to glorious fulfillment by the life changing talents of guest star La Lupi (Susana Lupiañez Pinto). La Lupi, a mature virtuoso of the art form, takes the stage with the fury of a tornado, and at times bends that fury into the grace of a bouquet of modest pink flowers bending in the wind. 

The interchange of these talented musicians on stage with the dancers was electric. Their wonderful soaring, and sometimes moaning voices, their rhythmically clapping hands and incredible guitar work was the impetus and background of La Lupi movements in particular. We were shown how live music literally creates and motivates the great flamenco dancer La Lupi the way stars in the sky affect the tides of the ocean. 

I was completely inspired by La Lupi’s amazing strength as a dancer. La Lupi’s dancing is acting, and dance combined, and the audience was able to see all of the pain and joy of life itself in her movements.  All of a woman’s life, her sex, birth, death, marriages and betrayals are clearly visible in her face and body - something that one normally only sees in a Broadway stage actor.  In La Lupi, these emotions extend to every move of her agile fingertips, every slap of her hands against her own body and every stomp of her heels - precise and exacting as knives. 

The lighting and costumes were fantastic as well throughout the show. In “Hidden Passion” for example, the female dancers appear in a smokey blue light, their beautiful faces hidden, wrapped in sheer blue material hoods, as they drape themselves around the bodies of their lovers who are dressed all in black. 

In another piece, the shawls or wraps that the female dancers traditionally wear are taken over by the male dancers and used as expressions of male sensuality and seduction in a joyous turnabout. 

I don’t often label a production as “must see” but this collection of dancers and musicians is without a doubt THE “must see” Chicago dance production of the entire 2024 season! With just a short three-day run at North Shore Center for the Performing Arts as part of the American Spanish Dance and Music Festival (June 7^th-15^th), we can only hope this production will be mounted again in the near future, perhaps at the company’s resident home at Northeastern Illinois University – so keep an eye open!

I highly recommend Ensemble Español Spanish Dance Theater’s Flamenco Passion for audiences of all ages who want to experience the true ballet of Spanish dance in its most exquisite and breathtakingly difficult expression.  

Who will the best speller be? Who will be able to withstand the pressures of competition? Who wants it the most? I’m sure these are among the questions you must be asking yourselves once the play begins. Well, without giving the ending of the story away, I’ll just say that it’s the audience that has the most F-U-N, FUN. 

I thoroughly enjoyed watching this bright, funny and talented cast in Music Theater Works’ brand new production of the Tony Award-Winning musical, The 25th Annual Putnam County Spelling Bee, now being performed in the North Theatre at North Shore Center for the Performing Arts in Skokie. The hit musical, conceived by the mind of Rebecca Feldman is superbly executed thanks to its fine direction and choreography by Christopher Pazdernik, Keeley Vasquez who assists in both said areas, and with music direction by Michal McBride. 

The Putnam County Spelling Bee is exactly what you would imagine happens every year when a collection of the nerdiest, most sensitive and intelligent students from the local county schools come together to face their fears on the big stage to take home the first place trophy for best speller. And, to add a little more fun to this particular spelling bee, it also requires a good amount of improvisational participation from audience members who might just be called down to compete with the students. Even if you’ve seen this play before, there will always be new “cast members“ chosen from the crowd that create unpredictable comedy performed on the spot each night making every experience unique.

The musical, while on one hand provides so many humorous moments, also brings to light the very real pressures of student competition. We see the occasional tears and panic attacks while students compete against each other for a small prize (literally a 12” high trophy and $200 that goes toward future education). We see that winning or not can have big consequences at home and/or in their own psyche. But we also see how competition can bring people together and how it can help us learn about ourselves.

Neala Barron who plays the zealous, rule-following spelling bee supervisor (and one-time winner), Rona Lisa Perretti, pairs up with Zach Kunde who takes on the role of Vice Principal Douglas Panch to conduct the competition. Kunde and Barron have great chemistry together and draw lots of laughs from the audience as they provide the words for the students to spell, along with their definitions, use in a sentence and countries of origin. Michael Davis Arnold plays Mitch Mahoney, the assigned “comfort counselor” who is ready with both a hug and a juice box for the next eliminated student. Arnold and Barron both have tremendous singing voices that stun the audience with their solos in this mostly ensemble piece.  

Will Koski, who plays William Barfee’ has stand-out comic and physical timing comedy as his character finds it necessary to spell out each word with his “magic foot” on the floor. Jamie Dillon Grossman is terrific in her role as the adorable, super intelligent, activist, future Congress-bound Logainne Schwartzandgrubeniere, who is under a tremendous amount of pressure to win because her dads “hate losers”. 

Mai Hartwich is a perfect fit as Marcy Park, the student who is capable of speaking “six languages” but is under a great deal of inner pressure to be perfect in everything she does, which includes winning every spelling bee she enters. Hartwich has a great aha moment during the song “Marcy’s Epiphany,” where Marcy realizes that by deliberately spelling a word wrong and losing the spelling bee on purpose, she’s, in many ways, actually taking back her own power so she relax, have fun and return to pursuing what she really wants to wants to do with her life. 

This is a production where truly the entire cast delivers. Joe Lewis is well cast as cape-wearing Leaf Coneybear while Brandon Acosta tackles his role as Chip Tolentino and shines in his performance of “Chip’s Lament,” a whimsical number about how he was distracted by his “unfortunate erection”. Rachel Guth is a pleasure to watch as she plays the sweet and anxious Olive Ostrosky, an only child whose father does not show up for the spelling bee. With her parents on the go so often, Olive has spent most of her lonely childhood at home alone reading the ancient family dictionary because there was no one around to talk to. During the competition she repeatedly looks to row eight to see if her father has arrived to take the seat she reserves for him. Guth has a strong singing voice and especially displays her vocal talent, along with Barron and Arnold, when they team up for the number “The I Love You Song.”      

Director, Christopher Pazdernik does a great job with the pacing and movement of this bright and breezy production. Pazdernik mentions in the program the life lessons that this play should remind us of - to work hard and be proud of ourselves, but that winning isn’t everything! Also, be kind to others and don’t take life so seriously! The 25th Annual Putnam County Spelling Bee points out that as children and adults we put way too much pressure on ourselves to be perfect - to WIN first place and to impress ourselves and others in our family, and by doing so miss out on the joy of the moments completely.

I wasn’t a spelling bee kid, but I was a thespian competitor in high school and, as one spelling bee student after another had to be eliminated, I couldn’t help but relive my own memories of intense anxiety arising before, after, and during our national thespian competitions - which had no cash prize at all. That being the case, I really related to Michael Davis Arnold’s “Prayer of the Comfort Counselor,” which he knocks out of the park vocally.

I highly recommend this Music Theater Works production of The 25th Annual Putnam County Spelling Bee staged in the lovely and intimate North Stage in the North Shore Center for the Performing Arts for audiences of all ages. 

I thoroughly adored Dance Chicago’s Dances from the Heart curated by Artistic Director John Schmitz, the highlight of the show, which featured Canadian guest artist Azalea Kaviani and Jordan Faye, was the premiere of “Of the Sun” from the program; Fish of the Sun. Fish of the Sun tells the story of a little fish who has lost her father and goes on a long, challenging journey to find him again. Children have an innate need to be near their parents or caregivers; their lives revolve around them much like the planets revolve around the sun. As the lost fish struggles to find her father, she recalls the importance of the physical connection. This dance shows the benefit of creating space for work that is for by and about the nuanced experiences and artistic expression of people with disabilities.

Azalea Kaviani, who is also one of the artistic directors, dressed in a blue and white unitard with lighting that appeared to make her and her partner appear underwater was a delight to behold. She danced with grace and sensitivity. They conveyed the inner experience of the delicate, lost fish looking for her father. Jordan Faye was a wonderful supportive and strong dancer and partner. When Faye carried his daughter, the little fish, off of the stage it was the most touching and meaningful moment of this wonderful evening of dance. 

Having had two members of my immediate family, paralyzed by genetic ataxia, I sincerely hope that more artistic directors like Kaviani will get the support they need to utilize dancers in various stages of disability showing the world that beautiful interpretive dance is not limited.

Comedy Dance Chicago, with their opening number and titled “L – O – V – E,” brought out the light moments of comic relief and showed that anyone with any level of dance experience can still express themselves and the joy of dancing.

The two largest international dance troops, TRINITY Irish Dance ensemble with twenty-three dancers and Hromovytsia Ukrainian Dance Ensemble with fifty-one dancers, filled the stage with joy and tradition. These group dances, complete with wonderful, colorful costumes from each country, although completely different in style, conveyed how marvelous it is that young boys and girls together can dance together in freedom and safety, while in many parts of the world, this type of performance is either forbidden or impossible.

Gus Giordano Dance Company was fantastic with their numbers entitled “So Hot” and “Issa Vibe”. 

Soloist Sophia DeLeon Sanchez with the premiere of the dance, entitled “Letting Go“ was a stand out with her sensual, hypnotic and mature grace.

I was also impressed by tap dancer and soloist Trey Dumas. The first portion of his solo was an improvography in silence, which allowed the audience to hear the intricate beats that this long time tap dance teacher was able to create on the spot. But the second half of his program, which was set to the song autumn leaves with the original French lyrics by Jacques Peurye and performed by Leslie Odom Junior, really brought the light of his tap genius into the romantic program that fit perfectly with Dances from the Heart.

Hip Hop ConnXion family with eleven dancers took over the stage with great energy and verve in their dance entitled “I miss you”. Other wonderful contributions were made by Visceral Studio Company, Christine Rich Dance Theatre, Flamenco, Ramya Ravi, Kalakriti bharatanatyam, Culture Shock Chicago, Tap Icon Tre Dumas, Footprints Tap Ensemble, Forum Dance Theatre, Elevation Studio Company, and Wheatland Dance Theater.

Dances from the Heart at the lovely North Shore Center for the Performing Arts in Skokie was a full-length program with a complete variety of highest quality dance troops curated from all over Chicago and the country was two hours of enchantment with a 15 minute intermission. I highly recommend this program in the future for audiences of all ages.

Sometimes you just need to go green. No, not a vegan diet and compostable paper plates, though a little more of each would help the planet. Go green with Shrek: The Musical, which runs through the end of 2023 at North Shore Center for the Performing Arts. Music Theater Works’ production, directed by Joanna McKenzie Miller, has many offbeat delights, including green-hued fart clouds blooming onto the upstage screen. Would those count as vegan and compostable? It doesn’t matter.

Based on the Dreamworks animated film Shrek, the musical pairs Jeanine Tesori, composer of such serious fare as Violet and Fun Home, with David Lindsay-Abaire, author of equally rigorous works such as Rabbit Hole and Kimberly Akimbo (which he and Tesori recently turned into a musical). With Shrek: The Musical, the creative team stays within unremarkable territory.

Taken on those safe terms, though, the show does not disappoint. The salty fairytale follows its ogre hero Shrek – who is cast off by his parents as a child and dwells alone in a swamp – and heroine Fiona – the princess who is cast off by her parents and grows up alone in a tower – to their happily ever after. Thanks to Lord Farquaad, the nasty royal who needs a queen to make him a king, Shrek and Fiona meet and conflict and fall in love with competing farts and belches.

Dana Pike as Fiona fills the stage with her rich voice, determined personality and droll humor, all of which align with particular power in “Morning Person.” While she clings to her quest to marry her fantasy man on a steed, she’s also a pragmatist who adapts to circumstances that contradict her fictional assumptions.

Jordan DeBose lets us love him as smelly Shrek (though a few of his lines got muffled in the Scottish accent). Eustace J. Williams as Shrek’s sidekick Donkey makes his incessant jabber always entertaining. Full-sized Michael Metcalf plays pint-sized Farquaad with such finesse, it’s easy to forget the actor does it entirely on his knees. And Michaela Shapira as Pinocchio seems to have hinges in her elbows.

A word about the set, a sure sign that stage technology marches on even as love stories remain timeless. The vast upstage screen uses motion graphics to chart shifting scenes and moods, from placid sunflowers to molten lava. Media designer Anthony Churchill’s projections mostly follow traditional storybook illustrations, but they are likely, in their sheer un-trendiness, to keep audience members of all ages transfixed.

It's been a hell of a year. Time for a few “F’s” that can be printed, like family, friendly, fantasy, free parking and, okay, farts. As a distraction from dire world news for adults and a variation on Christmas culture for the kids, Shrek: The Musical does the job with lots of jolly and its own shade of green.

Music Theater Works’ production is playing through December 31^st at North Shore Center for the Performing Arts. Go to Music Theater Works for tickets and information.

Fun fact. I went into Music Theater Works’ production of Pippin knowing the songs, knowing the show, and knowing I’d have a good time. But afterwards, I learned from my daughter, herself a current member of Scotch’n’Soda Theatre, Carnegie Mellon University’s student theater troupe, that the beloved musical didn’t just appear out of thin air, manufactured by the Broadway gods and bestowed upon us earthly theatergoers.

But Pippin didn’t just appear magically like all the good shows seem to have done. It was originally written by Stephen Schwartz as a student show for Scotch’n’Soda Theatre before its first Broadway run, directed by the great Bob Fosse. Knowing that now, the show’s youthful exuberance and dated innocence makes sense. Of course it was written by a kid, albeit a very talented kid.

Knowing that, the show means that much more—the story of a talented kid figuring out life and yearning for something, written by a kid like that. And knowing that, it’s fitting that my favorite part of this fine production of Pippin, directed by Kyle A. Dougan at the North Shore Center for the Performing Arts, was its young and talented and eager and enthusiastic ensemble. Seriously, the ensemble works (and sings and dances and acts) their tails off.

Choreographed by Mollyanne Nunn and Kaitlyn Pasquinelli, both ensemble members as well, there is always something fascinating going on across the stage; I never knew quite where to look because there was always someone stunning me with a dance move or making me laugh with a random bit of incidental tomfoolery. The scenic design by Shane Cinal and the costumes by Jazmin Aurora Medina only furthered the youthful feel, for me especially, as the themes and color palette and props all screamed 80s and 90s. And said costumes and props were put to good use by the cast, with Ciara Hickey and Jordan Ordonez two standouts, the latter joining Lacey Jack and Sonia Goldberg’s Leading Player for the dance scene in “Glory.”

Goldberg starred last year in Theo Ubique’s Once Upon a Mattress, and again takes center stage in the role of Leading Player, originated by Ben Vereen, leading the production throughout. Goldberg also leads youthful and yearning Pippin through the show’s story, for this production played by Connor Ripperger. Both Ripperger and Goldberg have phenomenal vocal skills, and show them off throughout. Their talents are matched by the rest of the main cast, including a hilarious (and hilariously costumed) Thomas M. Shea as Pippin’s royal father, King Charlemagne, Andrew Freeland as Lewis, Desiree Gonzalez as Catherine, and Di’Aire Wilson as Theo. The two women competing in the king’s life are wonderful; Kathleen Puls Andrade’s Berthe kills “No Time at All” (helped out, of course, by the audience on the choruses) and Savannah Sinclair flashes her dancing skills as Fastrada.

But again, this production is most enjoyable as a whole—because of all the talent onstage, because of all the enthusiasm shown by every single member of the cast, and because of all the hard work that has obviously been put into the show by everyone involved with Music Theater Works. I’d be remiss if I didn’t mention the orchestra, conducted by Justin Akira Kono. Kono leads the strings, horns, and trumpets through the show’s beloved soundtrack, and gives it a real Broadway feel. Because yes, this might be a show about youthful angst, written by a college kid for a college theater, but it’s also a beloved Broadway classic, jam-packed with beloved standards. And from now through June 25, you can see the cast and crew of Music Theater Works give it their all in Pippin at the North Shore Center for the Performing Arts in Skokie.

Irving Berlin’s White Christmas at the North Shore Center for the Performing Arts in Skokie 

is an absolutely fantastic seasonal Christmas show that pulls out all the stops!

I am a huge fan of the original film White Christmas and this talented cast, which was well-directed by Sasha Gerritson, brings so much of the magic of Irving Berlin's amazing music and the fun romantic storyline to colorful life from beginning to end. 

Tommy Thurston (Bob Wallace) and Jimmy Hogan (Phil Davis) play two World War II veterans with a successful song-and-dance act who meet and fall in love with two performing singers, Kelly Britt (Betty Haynes) and Anna Marie Abbate (Judy Haynes) who are sisters traveling by train to perform at what they are hoping will be a snow filled, vacationer packed holiday crowd at a quaint but flailing Vermont Inn owned by the two men's previous commanding officer. When the snow doesn’t arrive, they have to think fast if they want to draw that big holiday crowd.

All four leads are great singers and dancers! Wallace as Tommy Thurston really hits his stride with a deep note of romance with "How Deep Is the Ocean" in a call and answer number withKelly Britt (Betty Haynes) belting out “Love, You Didn’t Do Right by Me”.Britt is a delight and wows the audience in several numbers including the comical "Falling Out of Love Can be Fun". 

Alicia Berneche (Martha Watson, the inn’s concierge), is a mature actress who blows the audience out of the water when she transforms from what we think is an amateur wanting to join in on the show to a powerhouse singer and comedienne with her jaw-dropping and heart soaring performance of “Let Me Sing and I’m Happy”.

The stage is a holiday feast for the eyes. The costumes and large moving set are colorful, festive, and exciting. The huge Christmas trees are all lit magically and draw you into their warmth and glow. 

ALL of the dancers/ensembleare fantastic and positively wow the audience with a variety of dance forms including a spectacular tap dance to “Blue Skies”.

I LOVE a huge cast and seeing this many dancers onstage at once is a holiday treat for the eyes and ears that every single member of your family will be dazzled by. 

I highly recommend seeing this Joyful Christmas extravaganza in cozy comfort with all your family and friends. This great production show will make you appreciate the season as we ourselves are snowed in by our own freezing cold White Christmas! 

It’s no secret Hitler feared he would be killed, by political assassins, rivals or enemy troops. He spent much of the war seeking security underground at The Wolf’s Lair, his heavily fortified command center 400 miles east of Berlin, while directing action on the Eastern front.

One of his fears was poisoning. So Hitler’s S.S. officers arranged for a cadre of fifteen 20-something women, three of them bussed in daily to the Wolf’s Lair, tasked with eating three meals from the same batches prepared for Hitler.

Then they waited an hour to see if they sickened – this process repeated thrice daily for years to verify the Fuhrer’s bland vegetarian meals (rice, cauliflower, etc.) were safe. 

This little-known story came to light in 2013 when one of the girls, Margaret Woelk, told her tale to German television. Playwright Michelle Brooks recreates Woelk's experience in  Hitler’s Tasters, playing through July 14th at the North Shore Center in Skokie. Directed by Sarah Norris, it must return to New York and thence to the Edinburgh Fringe Festival – where it has been designated among "10 to watch" of some 4,000 entries. So take advantage of this opportunity to see it.

In Hitler’s Tasters, we witness 90 minutes of babbling girl talk about lipstick colors, hair, celebrities, and makeup, punctuated by an almost ceremonial delivery of the meals. The girls have been taught to look down as they receive their trays, then eat everything on their plates.

Occasionally one of the three girls is replaced by another – without explanation, but giving rise to speculation by the other two on whether the gone girl was too friendly to Jews, or had a relative who failed in service to the Reich. From scene to scene they change skirts, blouses and frumpy shoes, cable knit sweaters, one-piece uniform dresses - which helps convey the passage of time.

The girls fill the empty hours by endlessly snapping photos, trading grooming advice, and occasionally bullying whoever is most vulnerable. Liesel (Hallie Griffin), Hilda (MaryKatherin Kopp), and Anna (Hanna Mae Sturges) are insecure, with only vague notions about the goals of the Third Reich (“Is it the Motherland or the Fatherland?” one asks). Taster replacement Margot (Hanna Mae Sturges) arrives when Anna disappears, and she is more of a questionner: "Where is the meat?" she asks when her first meal arrives.

Hilda seems most aligned with the Reich's agenda, telling the others, "Hitler is making everything better." When they look at her in disbelief, she corrects herself: "He will make everything great again when he can finish his plans." The audience reacted to this and numerous other pointed references to politics past and present. While Hilda is only too ready ready to lord it over the others since her father is a high-ranking German officer, eventually even she loses face when it turns out he may be a deserter.  

Unlike the idealized young women profiled in Nazi propaganda whose mission was to whelp broods of Aryan men, Hitler’s tasters are simply frivolous young ladies with not much on their minds. Still the repetitiveness weighs on them, as does the arrival of the meals, triggering repeated contemplation of their own mortality.

If familiarity breeds contempt, these too-close relationships devolve into moments of deep enmity and cruel behavior. Each may potentially inform on her peers, which could mean time in a concentration camp, or even execution. We get what Hannah Arendt called "the banality of evil," with an especial emphasis on the banal - like a bad reality TV show set in Hitler's bunker.  

Brooks has done something unique in Hitler’s Tasters - adding anachronisms like Smart Phones and contemporary pop music and dance (with choreography by Ashlee Wasmund) to drive home the point that these girls where not much different than the average girl (or young guy) on the street today. They haven’t got it figured out yet, and for these three, even when they do, they will be destined to aim at motherhood uber alles.

Dancing to Madonna and sharing photos may seem jarring, but the playwright says, “I wanted to reach another generation. Young people don’t know about the War.” Indeed, since the days of my youth, we have given schools so many more wars to teach about, that the Third Reich and World War II merits just a day, and students get only glancing familiarity with its impact and implications for contemporary life.

Brooks said in an after-show discussion that she had determined “to make this the most completely researched play,” and amassed a wealth of material. “Then I wrote it in 48 hours, without opening a book.” That gave the play its energy and vision, and subsequent research added details that are subtly and skillfully woven in.

The real Hitler’s taster Margaret Woelk revealed she was raped by an S.S. officer in this period, and eventually escaped on a train with Goebbels, while the rest of the young women at The Wolf’s Lair met violent ends at the hands of the advancing Soviet army.

Hitler’s Tasters is a strong work, and Brooks and the creative team even adapt the music to different venues in which it plays – in an effort to engage audiences. With the all-women cast and creative team, Brooks says the music is also drawn from women performers – Ow Ow Ow by Spud Cannon; The Navigator by Hurray for the Riff Raff and Child of the Sun by Amyra among them. Perhaps this show could be tightened by 5 or 10 minutes – there are moments when the pace lags - but it's a minor concern. 

See Hitler's Tasters through July 14 at the North Shore Center Show times are Tue, July 09 at 7:30pm; Wed, July 10 at 7:30pm; Thu, July 11 at 7:30pm
Fri, July 12 at 8pm; Sat, July 13 at 2pm; Sat, July 13 at 8pm; and Sun, July 14 at 2pm.