It’s not often that Goodman Theatre imports plays from other theatre companies. It’s also an exciting moment when a frequent Goodman actress gets to showcase her newest play on the mainstage. “Relentless” by Tyla Abercrumbie was originally developed and produced by TimeLine Theatre in Chicago as part of their Playwrights Collective. The past year was still tricky for most theatre companies, and many had to reconfigure their seasons on short notice. Directed by Ron OJ Parson, “Relentless” premiered at TimeLine in early 2022 to rave reviews and has since been moved to the Owen stage at Goodman.

Set in 1919, “Relentless” tells the story of two Black sisters who return to their family home in Pittsburgh following the death of their mother. Janet (Jaye Ladymore) and Annelle (Ayanna Bria Bakari) are two bourgeois young women who live in Boston. Janet and Annelle see the world differently. Annelle sees the bright side of things, which seems easy from her perspective as a doctor’s wife. Janet is unmarried and doesn’t see much use for marriage. It’s when Janet begins reading her mother’s diary that she considers keeping the house and staying in Philadelphia.

For many Americans, the year immediately following WWI and the 1918 flu pandemic, was a time of great optimism. For those still reeling from the horrors of slavery, seemingly very little had changed in the 60 years since the Civil War.

In fluidly moving scenes, Janet is transported by her mother’s diary to the twilight years of slavery. As middle-class characters, her and Annelle have been somewhat shielded from some aspects of discrimination, but the details of their mother’s journal pull back the veneer on the gilded life they live. Annelle would rather not know anything at all, but the injustices spurn Janet to rage.

Abercrumbie’s story has the look and feel of an August Wilson play, but with a unique perspective. This is a story about Black women, told by a Black woman. Female characters are dimensional here, they swear, they drink, and they talk about sex. Culturally we assume previous generations were somehow more innocent but that couldn’t possibly be true. Though like Wilson’s plays, “Relentless” underscores that every generation of Black Americans has had to deal with the same issues of violence, racism and oppression. “Relentless” asks if anything has really changed.

Performances by Jaye Ladymore and Ayanna Bria Bakari are what this play hinges on. Both actresses fill the space with their characters, both giving them distinct personalities and similarities that create a sisterly chemistry on stage. Demetra Dee as the mother, Zhuukee, in the years of slavery is the discovery of the evening. There’s a fragile yet strong delivery in her lines. She’s soft in situations that would make others harsh. “Relentless” is a play with anger at its core, but perhaps Zhuukee represents a sense of forgiveness, or healing.

Through May 8 at Goodman Theatre 170 N Dearborn Street www.goodmantheatre.org

There are plenty of holiday plays, but how many plays are specifically about Passover? For that matter, how many people really know what Passover signifies? Victory Gardens premieres Ali Viterbi’s new play “In Every Generation”, which tells the story of one Jewish American family’s journey from 1940s Europe through the new century.

The play jumps time between various Seder dinners. Director Devon de Mayo makes a wise staging choice with the performance space at Victory Gardens. Including a seating section on stage asks the audience to look at one another, the same as though you were sitting around a Seder table.

While the family isn’t given a last name, we know from the grandmother, Paola’s (Camen Roman), thick Italian accent that this is as much an Italian-American home as it is Jewish. The first act takes place in the present day as the granddaughters argue over the modern elements of Judaism and slowly reveal why their own mother Valeria (Eli Katz) would rather avoid Passover altogether.

The second act probably can’t function without the first, but the play really gets going after the intermission. In the second act, there are three distinct time jumps. The most charming vignette tells the story of Paola and Davide’s first Seder in America, ten years after they survived the Holocaust. Carmen Roman is the heart of this play, and each scene she commands nearly all the attention. This scene in particular is the warmest moment of the play. The action then moves to 2050 and we can only assume by the conversations between now middle aged Yael and Devorah that being Jewish has become dangerous in America. This is a bleak and unpleasant prediction by the playwright, but it’s no question that Jewish institutions are being targeted by hate groups and supremacy organizations. The third vignette takes us back to the inception of Passover, in the desert, on a pilgrimage to Jerusalem. This is a nice counter for the somewhat unresolved nihilism of the second vignette.

Playwright Ali Viterbi makes a really interesting choice by blending Italian American heritage with Jewish heritage. The popular assumption is that Italy is a Catholic country, and while the Vatican does sit in Rome, it’s not to say there aren’t Jewish people in all regions of the world. It helps builds empathy. Adopted daughter Devorah is Asian American, this is another interesting aspect of how Viterbi builds empathy. Just because you’re not born Jewish, doesn’t mean you can’t be accepted by the community.

If nothing else, this play asks for understanding. Through understanding we build tolerance. If audiences can see themselves, Jewish or not, in these characters then more can be done to protect the future of Judaism. Viterbi also points out that apathy within a minority group ultimately leads to its demise. “In Every Generation” might just be the definitive Passover play in that it fully contextualizes the history of Passover but it also gets to the point of all holidays, and that’s family and celebration.

Through May 1^st at Victory Gardens. 2433 N Lincoln Ave. www.victorygardens.org

Perhaps it was the pandemic, or maybe it’s the cultural divide between the left and the right, but it seems like small town gay bars are vanishing. Playwright Samantha Mueller sets out to commemorate these safe spaces in their new play “Laced” making its world premiere at About Face Theatre. Directed by Lexi Saunders, “Laced” is a unique backstage look at LGBTQ nightlife and those who help create that world.

In the aftermath of the Pulse Nightclub shooting and before the 2016 election, three bartenders at a small town Florida gay bar come to work to find the bar has been vandalized. Minnow (Daniela Martinez), Audra (Mariah Copeland) and Cat (Collin Quinn Rice) are close coworkers and the incident leaves them rattled. Minnow becomes obsessed with figuring out who did this. The three work to piece together the previous evening. In the telling, each share intimate thoughts and experiences.

There’ some heavy content here, but overall this is a play that celebrates queer spaces and those who work tirelessly to ensure everyone feels welcome. The staging by Sydney Lynne immediately sets “Laced” in a specific atmosphere. Local queer scene DJ Ariel Zetina creates a hot soundscape with tracks by Charli XCX and Robyn peppered in. About Face directly borrows from the Chicago queer nightlife scene and it lends a real sense of authenticity to “Laced” that is somewhat missing on the page.

Mueller makes some relatable observations about queer life in their 90 minute one-act. Mueller digs in deep on the idea of what makes queer relationships; romantic or otherwise, different from the heteronormative standard. In doing so, they build a compelling case for why queer spaces need to be defended.

There’s a lot of chemistry between the three leads. While some of the dialogue sounds like it was taken from internet memes, Daniela Martinez keeps it sounding fresh and cool. Mueller’s well-intentioned dialogue does beg the question, who is the audience for this show? The plot never quite builds but “Laced” seems more about the journey than the destination.

As more exclusionary laws are introduced around the country, theatre companies like About Face become even more essential. Much like the bar in “Laced” About Face is a safe space for LGBTQ stories and perhaps through storytelling can bring awareness to an epidemic of small-town gay bar closures.

Through April 16 at About Face Theatre at The Den. 1331 N Milkwaukee. www.AboutFaceTheatre.com

The preoccupation with the opioid crisis in our pop culture these days says a lot about the world in which we live. Rivendell Theatre contributes to the national conversation with a new play, “Spay” by local playwright Madison Fiedler. “Spay” is set in Appalachia, the heart of the opioid crisis, also where Fiedler grew up. Inspired by what she observed living in rural North Carolina, “Spay” furthers the conversation of how specifically this epidemic is effecting women.

Noah (Rae Gray) is a struggling heroin addict. She has a child, but her sister Harper (Krystel McNeil) raises him. Following an overdose, Noah agrees to live with Harper but she has to get sober. Noah’s boyfriend Jackson (Spencer Huffman) is her drug dealer and all around bad influence. The standard architypes of an episode of Intervention. Fiedler works against popular tropes or clichés to make these damaged characters likeable.  

A few years ago, Vice HBO ran a segment about Project Prevention, a nonprofit with a mission to help women and mothers with addiction. Except, there’s a little more to the mission of Project Prevention than just helping addicts. In Fiedler’s play Aubrey (Tara Mallen) mysteriously floats into Noah and Harper’s lives in an almost Mary Poppinish way. Aubrey is a representative of Project Prevention, and explains to Harper exactly what it is they do. Voluntary sterilization is one way Project Prevention sees a way out of the opioid crisis. Fiedler places this detail at a crucial moment of the play.

“Spay” examines how America looks at the opioid crisis, or rather how America chooses to hide the opioid crisis. While some can argue voluntary sterilization could cut down on the amount of children being born addicted and burdening the foster care system. Fiedler’s gruesome title suggests how she feels about the procedure.

Whether this play is a tragedy is up for debate. “Spay” is a play about exactly what its title implies. The comparison of human women to dogs. We get our dogs “fixed” in order to avoid a litter to care for. There’s a coldness to the idea that anyone would be given monetary compensation for a very permanent, non-essential procedure. A branding from society that you are not good enough to recreate.

Rae Gray and Krystel McNeil both deliver strong performances in this incredibly intimate production. Designed by Lindsay Mummert, the staging feels almost as if you yourself are sitting in Harper’s dingy living room. The atmospheric nature of this staging removes any veil audiences have with the realities of the opioid epidemic. It’s a first hand experience. As more and more opioid stories are told, calls for accountability become louder and plays like “Spay” help drive home the point that addiction is a disease not a character flaw.

Through April 17 at Rivendell Theatre Ensemble, 5779 N Ridge Avenue, www.rivendelltheatre.org

It’s hard to imagine a life without late night talk shows. Since the dawn of TV, late night talk shows have been a means for Americans to get to know celebrities better. During the pandemic these nightly comedy hours provided a necessary platform for connection and laughter. We watched the studio audiences fade away and our favorite hosts compressed to a Zoom call. Even if imperfect, their presence provided a sense of comfort.

The art of conversation is a gift. Jack Paar certainly had that gift, and was one of the first hosts of The Tonight Show on NBC in the 1950s. His playful banter with his often-intoxicated celebrity guests was unpredictable and made for must-watch TV.

Doug Wright’s new play “Goodnight Oscar” premiering at Goodman Theatre, imagines the backstage drama of a taping of The Jack Paar Show with Oscar Levant, who was a frequent guest and one of Paar’s favorites. “Will & Grace” star Sean Hayes gives a powerful performance as Oscar Levant. Hayes is nearly unrecognizable donning the slurred vocal mannerisms of a comedian struggling with substance abuse.

A lot of the world’s funniest comedians have led sad lives. Oscar Levant was both a gifted classical pianist and a Hollywood comedy actor. He struggled with mental health and substance abuse as many celebrities did in an era before rehab existed.

In Doug Wright’s telling, Oscar has been sprung from a mental institution on a four-hour pass in order to make an appearance on the show. Oscar’s quick thinking, off-color humor makes the NBC studio executives nervous, but his deteriorating health are what make his wife June (Emily Bergl) nervous.

Doug Wright has a knack for taking somewhat obscure pop culture and crafting an unlikely narrative around it. Wright and Goodman have a long history of collaboration, his last play “War Paint” premiered at Goodman before opening on Broadway. “Goodnight Oscar” nicely fits into his catalog. While the plot is fairly straight forward, it’s the character study of Oscar Levant where the heart of the script lies.

This play is mostly driven by Sean Hayes’ extraordinary performance. Hayes is best known as a comedic actor, but “Goodnight Oscar” gives audiences a chance to see him do a dramatic role. His transformative appearance and skills on the piano had the audience giving a standing ovation long before the curtain call.

This briskly paced 90-minute script is so full of one-liners, you don’t want to miss a word. While some of the humor is very specific to the 1950s, those with knowledge of classic Hollywood will find much to chuckle about. Jack Paar was not the first late night TV show host, but he knew good TV. He encouraged his guests to push the boundaries. So many of TVs most shocking moments have happened on late night talk shows. Doug Wright’s play provides the origin story of how late night TV became a nightly ritual for many Americans.

Through April 24^th at Goodman Theatre. 170 North Dearborn 312-443-3800

How well does a three hour Russian science fiction film translate to stage? Surprisingly well. Griffin Theatre gives the North American premiere of David Grieg’s 2019 adaptation of the classic Tarkovsky film. The intimate staging at Raven Theatre gives audiences the same sense of deprivation one might have on a floating space station.

“Solaris” is a water-based planet around which a space station is orbiting. Strange things begin happening to the crew who live in isolation aboard the space station. Dr. Kelvin (Isa Arciniegas) is sent to the space station after the suicide of a crewmember. Once she arrives, she notices the emotional disturbances for herself. Though Solaris remains a mystery to the three doctors aboard the space station, one doctor is convinced of its malevolent intentions. While Dr. Kelvin starts to become enamored with Solaris, Dr. Sartorius (Nicole Laurenzi) warns that the visions Kelvin is experiencing can’t be trusted.

Director Scott Weinstein keeps the pace moving, divesting the show of some of the film’s more laborious elements. The small cast led by Isa Arciniegas and John Drea (as her manifestation), capture the moodiness of planet Solaris. There’s not much melodrama here, but rather a slow and steady unraveling. In order to believe the relationship between Kelvin and Ray, romantic chemistry is essential. Arcinegas and Drea play well off each other and their flirtation, however unsettling, is palpable.

Original reviews of the 1972 film version of “Solaris” praised the advanced set design. Scenic designer Joe Schermoly rises to the task. Futuristic spaceship can be tricky to do on a theatre budget, but this story doesn’t call for a lot of technological achievement. Schermoly’s set is functional and stylish. The stark backdrop lends to the feeling of coldness.

“Solaris” is a modern love story set in space. It’s less an exploration of the far reaches of the galaxy and more of an exploration of the human subconscious. At the time of the novel’s release, the USA and the Soviet Union were engaged in a highly competitive race to put the first person on the moon. What “Solaris” does is examine the space race from a different perspective. It asks what psychological effect space travel has. Science fiction films about aliens were popular in the midcentury, as humans took to space. “Solaris” bucks this popular theme in that the lifeforms in this story seem to come from a place of love. It’s a variation on the classic alien story, but perhaps a more uplifting, or at the very least more mature.

“Solaris” is an essential story in our futuristic world of personalized operating systems and hyper-realistic video games. A play, even an adaptation, must ask a central question in order to be useful to an audience. The themes at the center of “Solaris” are much more Earthly than the scenario might seem. Love is a powerful emotion and it often clouds reason and judgement. Is it a feeling we can rationalize ourselves out of? Author Stanislaw Lem makes a strong case against rationalizing romantic love. In the end, Lem was a romantic and “Solaris” is ultimately an unlikely romance. Through March 27^th at Raven Theatre.  6157 N. Clark Street - 773.338.2177.

Goodman Theatre’s aptly titled season, Homecoming, kicks off with a revival of August Wilson’s “Gem of the Ocean.” Written just a few years before his death, “Gem of the Ocean” is the first chapter of Wilson’s 10-play 20^th Century “Cycle”. This play was originally produced at Goodman Theatre in 2003. Goodman has produced each of Wilson’s ten plays at least once, with some making their world premiere.  

Despite being a native of Pittsburgh, where his plays are set, August Wilson had a unique relationship with Chicago. Revival director Chuck Smith served as the dramaturg on the original production of “Gem of the Ocean” but formed a working friendship long before then. Since 2005, Chuck Smith has produced two August Wilson festivals.

“Gem of the Ocean” captures the African American experience in the first decade of the 20^th Century. The play centers around mystic Aunt Esther (Lisa Gaye Dixon) and a mysterious drifter named Citizen (Sharif Atkins). Romantic tension blossoms between Citizen and Aunt Esther’s housemaid Black Mary (Sydney Charles).

Wilson follows Citizen’s journey from Reconstruction-era Alabama to Free North Pittsburgh. The play makes a direct parallel between the American immigrant experience and the post-slavery African American experience. Much like Upton Sinclair’s Jurgis, Citizen is tricked at every turn upon arrival in bustling Pittsburgh and he quickly becomes discouraged. He seeks refuge and soul cleansing with Aunt Esther and finds a loyal family.

Performances are humorous and complex. Lisa Gaye Dixon fills the space with her enchanting presence, but it’s Sydney Charles in the meeker role of Black Mary who is equally captivating. Charles has an impressive voice and an ageless sense of vulnerability and humor. The two share a contagious chemistry. It wouldn’t be an August Wilson play in Chicago without A.C. Smith though, his hulking appearance and effortless comedy help maintain August Wilson’s balance.

While “Gem of the Ocean” is about class warfare in the 1900s, its themes of injustice and police brutality are as relevant today. Wilson covers a lot of ground in three hours but the mood never feels overwhelming. In fact, there’s a great deal of whimsy. “Gem of the Ocean” begins this cycle with a deep understanding of the horrors of the slave trade. Wilson deeply felt the plight of free, but somewhat lost African Americans in the century after the civil war. He gets to the heart of the American caste system, and why some people choose to perpetuate it. Though there is darkness, there is so much lightness in the warm exchanges and theatrical staging of this ensemble play.

Through February 27^th at Goodman Theatre. 170 N Dearborn St. (312) 443-3800

Some of us may remember the old turntable on a cart your teacher would use to present an aged recording of a Shakespeare play so they could get some grading done. Theatre in the Dark’s unique approach to live, digital theatre is the complete opposite of that. It’s exactly what it sounds like, theatre without images, but it’s not a podcast. Nearly all the elements heard in their audio production of ‘Moby Dick’ are coming to listeners live.

Billed as “pandemic proof”, Theatre in the Dark broadcasts to audiences all over the country, in real time via Zoom. Creativity is born out of necessity, but pandemic aside, they’ve created a really interesting theatre concept. In lush sounds and haunting silences, the listening audience feels like they’re floating in open water with Ahab’s doomed crew. The sense of isolation feels especially relevant for those of us listening in quarantine.

Adapted and directed by Corey Bradberry, this version of ‘Moby Dick’ is far more succinct than the novel and for that it should be praised. Bradberry has crafted Melville’s epic into a streamlined and suspenseful sea yarn. Through Ishmael’s narration (eloquently voiced by Elizabeth McCoy), the playwright is able to aptly summarize Melville’s complex themes in relatable dialogue.

The vocal performances of Mack Gordon as Starbuck and Stubb as well as Robinson J. Cyprian as Ahab are what keep the listener engaged. In a way, this is a much more passive form of enjoying live theatre, but the audio world created by Theatre in the Dark takes audiences beyond their couches. An original score by Nick Montopoli helps set the emotional tone.

Theatre in the Dark is a relatively new company, but their platform offers them so much room to grow. For those who enjoy theatre but aren’t ready to get back out there, this is a perfect way to feed your need for great storytelling.

Through April 10^th at Theatre in the Dark.    https://www.theatreinthedark.com/

Every December the Chicago theater community goes into full holiday mode, producing a wide array of favorites for reliably sold out houses. COVID obviously has altered many traditions, and theatrical performances have been forced to digitize operations or simply skip this year.

Manuel cinema hadn’t planned on doing a holiday show this year, but when COVID paused the theatre community, they pivoted and began work on a “Christmas Carol.

Working as an ensemble; the narrator (N LaQuis Harkins), the musicians (led by Ben Kauffman) and the shadow puppeteers (helmed by Lizi Breit), Manual Cinema creates a near perfect contribution to Chicago’s holiday theatre landscape. Manual Cinema’s production team has impressively navigated the hurdles of our newfangled telecommunication to present this intricate performance live every night without hiccup. In fact, their telling of ‘A Christmas Carol’ seems more suited to this format than a traditional theater space.

In rich textures and arresting original music, Manual Cinema creates gorgeous imagery with overhead projections, shadow puppetry and other clever slights of hand. There is truly nothing else like it, and yet so much of it recalls the warmth of classic Christmas TV specials like ‘Charlie Brown’ and the Bass Rankin films.

Instead of a tried and true standard adaptation of the Dickens story, this version is framed out by the narrator, Aunt Trudy, played by N LaQuis Harkins. Trudy is suffering from the loss of her husband, Uncle Joe, who used to put on a puppet show every Christmas. Trudy struggles with the Zoom call as she banters with her family and the show gives way to the Dickens tale.

This production does not ignore the elephant in the room, and though it seems too soon be part of our Christmas narrative, Manual Cinema deals addresses the realities of COVID without getting political. Given this work is so timely, it’s fun to imagine how it might be changed to be a bit more timeless in the future, however it does create an interesting snapshot of Christmas 2020. Manual Cinema’s ‘Christmas Carol’ is a bold new take on a classic, retold as a heartfelt animated Christmas card.

Through December 20^th. manualcinema.com/christmascarol/

With Renee Zellweger just having won the Academy Award for her portrayal of Judy Garland, focus on Garland’s legacy has been renewed. Local actresses Nancy Hays and Alexa Castelvecchi, along with music director Robert Ollis, reconstruct an iconic moment in pop culture history. A young Liza Minnelli performed just one time with her mother Judy Garland on the Palladium stage in London in 1964. The evening was recorded, and the album proved a highpoint for both Judy and Liza.

“Once in a Lifetime” is not exactly song for song as they appeared on the album, but this cabaret is a touching tribute to Judy and Liza. With Hays as Garland and Castelvechhi as Minnelli, the two take turns singing their favorite songs from the album and relay the history of how it came to be. Though they’re both dressed in character, this is more of a concert than a play.

What remains impressive about this once in a lifetime evening in 1964 is how great the arrangements were. Each song plays to the strengths of these two legendary performers. Judy Garland was in her prime in 1964 and Liza was about a year away from winning her first Tony Award. The song selection is quite a charming playlist. The evening was a love letter to each other. Given the tragedy Judy would endure by the late 60s (including her untimely death), this album remains a time capsule of a happier time in Judy’s life. It also foreshadows the show business powerhouse Liza would become in her own right.

Both Hays and Castelvecchi dispense with all too easy impressions of Judy and Liza. Instead, they both knock it out of the park in the intimate cabaret space at Victory Gardens’ Greenhouse. Castelvecchi really taps into the bluesier aspect of Liza Minnelli’s vocal range. Hays probably has a better voice in 2020 than Judy had by 1964, and her renditions of the jazzy standards are a real treat. All together, “Once in a Lifetime” is a fun hour and a half filled with the enchanting music of Harold Arlen, George Gershwin and Jerry Herman.

At Greenhouse Theater Center through April 5th