Displaying items by tag: theatre reviews

Like the waves lapping along the shores of Lake Michigan, there is another wave that is hitting Chicago; a nostalgia wave. From high waisted jeans, bold neon colors, even scrunchies and side ponytails, the 1980s are riding high in Chicagoland. But it isn’t just Chicago. In the 2020s, the currents of the nostalgia wave have infiltrated every aspect of our culture from movie franchise remakes like Top Gun, to chart topping synthpop-new-wave hits like The Weekend’s Blinding Lights or Dua Lipa’s Love Again. And that same wave is riding high onto the theatre scene bringing a seminal cult classic film to life in the most spectacular way. Gen X and elder millennials buckle up and hold on tight, because we’re going Back to the Future – in musical form. And Back to the Future: The Musical has officially set its destination for Chicago in 2024.

Winner of the 2022 Olivier Award for Best New Musical, four WhatsOnStage Awards, including Best New Musical, and the Broadway World Award for Best New Musical, Back to the Future: The Musical is adapted for the stage by the iconic film’s creators Bob Gale (Back to the Future trilogy) and Robert Zemeckis (Forrest Gump) and directed by the Tony Award®-winner John Rando with original music by multi-Grammy® winners Alan Silvestri (Avengers: Endgame) and Glen Ballard (Michael Jackson’s “Man in the Mirror”), alongside hit songs from the movie including “The Power of Love,” “Johnny B. Goode,” “Earth Angel,” and “Back in Time.”

When Marty McFly is accidentally transported back to 1955 in a time- traveling DeLorean invented by his friend, Dr. Emmett Brown, he accidentally changes the course of history. Before he can return to 1985, Marty must make sure his high school-aged parents fall in love in order to save his own existence. Now he’s in a race against time to fix the present, escape the past, and send himself... back to the future.

The most impressive aspects of this musical aren’t the songs or the familiar storyline but the sheer visual spectacle that is the DeLorean. Using an amalgamation of lights, sound, screens, and immersive and malleable stage designs, you follow the DeLorean has it travels through space and time, the sets seamlessly and breathtakingly transitioning from the 1985 to 1955 and back again. The clocktower scene alone had the audience sitting at the edge of their seats, wondering how the engineers, designers, choreographers, and illusionists pulled off such incredible feats. It was visually stunning and Broadway in Chicago never disappoints with its stage presentation and craft. 

For the nostalgic lovers of the movie, the classic storyline, witty one-liners, and your favorite characters are all here. For musical lovers, you’ll love the classic songs played throughout the play such as “The Power of Love” and “Johnny B Goode,” while tapping your toes to new musical numbers like “Gotta Start Somewhere,” “Pretty Baby,” “Something About That Boy.” For theatre lovers, Burke Swanson as George McFly and Zan Berube as Lorraine Baines, Marty’s parents, look identical to their film counterparts, down to the mannerisms, chemistry, and comedic timing, coupled with their vocal talents, you’ll be rooting for these two to get together faster at the Enchantment Under the Sea dance. Cartreze Tucker, who plays Goldie Wilson/Marvin Berry, steals the audience’s attention with his vocal range and prowess and Don Stephenson who plays the incomparable Doc Brown will have you rolling with laughter with his lingering zingers while he cleverly breaks the 4th wall.

Like any good Doc Brown invention however, Back to the Future: The Musical was a bit glitchy. Technical difficulties like mics cutting out to music being so loud it drowned out the musical talent, ensemble actors simply marking their movements versus performing all out, and some lead actors not hitting their marks at all (or their notes), the musical’s second night definitely had some issues as it got going. But once the plutonium was installed and the flux capacitor was engaged following the first few musical numbers, the musical hit the magic 88 and was able to right the space time continuum. Despite these early challenges, this musical is well worth the trip for the special effects and illusions alone.

Back to the Future is a cult classic that is bound to make many more revivals in future nostalgia waves. With Back to the Future: The Musical now making its national tour, this musical is sure to be a crowd favorite and hopefully replace some outdated or antiquated musicals like The Music Man and Hello Dolly (don’t come for me musical thespians! I said what I said).

Back to the Future: The Musical is now playing at Cadillac Palace Theatre (151 W Randolph St). Tickets are available at www.BroadwayinChicago.com. But just like the blip in time it only runs through Sept 1st so don’t miss your opportunity to ride the wave and go back to the future to experience this incredible show.

We are all lucky that we’ve gotten to live at the same time and in the same timeline as Stephen Sondheim, possibly the most influential and important composer and lyricist in modern Broadway history. From his most popular musicals — Sweeney Todd: The Demon Barber of Fleet Street, Into the Woods, his lyrics for West Side Story — to his more obscure — Anyone Can Whistle, Company, Follies — he’s left a wealth of lyrically and musically rich songs for us to study and enjoy.

The Stephen Sondheim Tribute Revue, directed and produced by 4 Chairs Theatre founder Lauren Berman, showcases songs selected thoughtfully and with care from the catalog of the late, legendary composer, with a talented ensemble featuring Kaitlin Feely, David Geinosky, Lyndsey Minerva, Brian Member, Denise Tamburrino, and Michelle Tibble, accompanied on piano by Tyeese Braslavsky. 

The selected songs range from Sondheim’s early works, like 1962’s A Funny Thing Happened on the Way to the Forum and Anyone Can Whistle from 1964, even his very first musical Saturday Night, to his later, more well-known works such as Sweeney Todd and Sunday in the Park with George.

Pictured: Michelle Tibble and Denise Tamburrino

Each of the ensemblists has a clear, powerful voice, creating the perfect canvas for which to display the complex and varied works of Sondheim. Sondheim always emphasized the importance of trained, mindful vocalists throughout his career — he felt that singing should enhance acting, not the other way around. The emotion comes first, always, and the music and lyrics are there to prop up that feeling, take it out of time for a moment and examine it. These actors deliver on just that.

Highlights for me included ensemblist Denise Tamburrino’s solo performance of “Send in the Clowns” from A Little Night Music. Possibly one of Sondheim’s most performed standalone songs, “Send in the Clowns” sardonically comments on the bad timing of love by a woman who’s experienced the ups and downs of it. Tamburrino’s rendition brings the right amount of restraint to the reflective song, letting the emotions on her face and pauses between phrases speak just as much as the lyrics.

Pictured: Brian Pember, Lyndsey Minerva, and Denise Tamburrino

Other highlights were the selections from Company (inlcluding the frantic "Getting Married Today" performed with tact by Lyndsey Minerva, Denise Tamburrino, and Brian Pember) and Into the Woods, Sondheim’s fairy tale-gone-wrong musical from 1987, which included two of the more moving, clear-headed tunes from the show: “No One Is Alone” and “Children Will Listen”, the former sung by the whole ensemble and the latter by Michelle Tibble and David Geinosky.

And finally, another Sondheim gem is uncovered with Kaitlin Feely’s performance of “The Miller’s Son” from A Little Night Music, a song about fantasy and its clash with reality, one of many examples of Sondheim's songs that has stood the test of time and was, in fact, ahead of its time with its witty lyrics and shrewd observations of life.

As Lauren Berman writes in her director’s note, “There are musicals, and then there are Stephen Sondheim musicals.”

The Sondheim Tribute Review by 4 Chairs Theatre is playing at the Skokie Theatre - Performing Arts Center through August 18, 2024. Tickets can be purchased on the 4 Chairs Theatre website. 

There is something timeless and lasting about 1920s and 1930s jazz. The lively tunes and sultry tempos defined an era and resonates throughout every aspect of our culture from movies and cinema, music and radio, and to literature and theatre. I jumped at the opportunity to revisit the art-deco, jazz-fueled era to see The Fats Waller Musical Show, Ain’t Misbehavin.’

The incomparable Drury Lane in Oakbrook transports us back to the 1930s to celebrate the music of Grammy Hall of Fame American jazz pianist Thomas “Fats” Waller and the vibrant spirit of the Harlem Renaissance. Set in Chicago’s Bronzeville neighborhood in 1939 Ain’t Misbehavin’: The Fates Waller Musical Show is a non-stop party, featuring over 30 numbers with including “Honeysuckle Rose,” “The Joint is Jumping,” and “I Can’t Give You Anything But Love,” and of course “Ain’t Misbehavin’.” With a live pianist, a four-piece brass band, and an incredible cast of talented singers and dancers, you’ll lose yourself in the irresistible rhythms and soulful melodies that defined an era of musical brilliance. From sultry ballads to upbeat swing numbers, come to Ain’t Misbehavin’ for an evening of unparalleled entertainment where you’ll find yourself swaying and humming along to the enduring melodies from the legendary Fats Waller.

Coming into the play I was expecting one of two things. The first that this was going to be about the life of Fats Waller in the same way Tina Turner: The Musical or Beautiful: The Carol King Musical is. As the show started with the cast engaging the audience in the same style speakeasies and clubs allowed in the 1920s and 30s, I started to think the show was more like Choir of Man, more of a journey or a snapshot in time. But Ain’t Misbehavin’ takes a different approach entirely, one that this author hopes to see more theatre like it. Ain’t Misbehavin’ is an auditory and visual time capsule come to life. What it lacks in a narrative, it makes up for in pure enjoyment of the soulful music that defined an era and paved the way for modern jazz.  Director E. Faye Butler, a native Chicagoan and Southside resident surrounded by the beauty of the architecture and music of the Bronzeville neighborhood, says it best, “I wanted to bring a bit of history through the music of Fats Waller to the Drury Lane audience. Although Fats’ music was primarily written and performed in New York City during the Harlem Renaissance period, that same spirit and music was happening right here in Bronzeville at clubs where Fats performed, such as Club DeLisa, The Cabin Inn, The Regal Theatre, or The Palm Tavern. This was Chicago at its finest in 1939.”

With the exceptional talents of Sharriese Y. Hamilton, James T. Lane, Alanna Lovely, Alexis J. Roston, and Lorenzo Rush Jr., coupled with the music prowess of the Drury Lane Orchestra led by the incomparable William Foster McDaniel, this ensemble will have you jumping out of your seat and dancing in the aisles (or at least feel the urge to).

We’re brought into a world many people might not have experienced or heard about in every day experiences. To truly appreciate this piece you must not approach this show like others you have seen. It’s not a narrative. There is no great story arch. The actors and actresses need your engagement and enthusiasm (respectfully) and want you to interact with them when they signal you to. This is a club after all. Aren’t we all here to have a good time and listen to some incredible music? This is a show celebrating Fats Waller as much as it is celebrating incredible music that will stay with you long after the air raid sirens have gone off and we must once again be on our best behavior as we venture back to our lives. But for a short while, a brief moment in time, we can escape to 1939 Bronzeville where misbehaving is highly encouraged (respectfully).

The Tony-Award Ain’t Misbehavin’, The Fates Waller Musical Show revue is directed by E. Faye Butler and runs through Aug 18^th, 2024, at Drury Lane Theatre, 100 Drury Lane in Oakbrook Terrace. Tickets are available at www.drurylanetheatre.com.

We all can do with a little more magic in our lives. Myths and Gods, magic and fantasy, these are the foundations of the stories we’re drawn to. They have a way of pulling us in, making us believe, and letting us escape the world around us, even if it is for only a few short hours. Magic can be found all over Chicago, take it from any die-hard Cubs fan; though it may not happen often, when we see magic, it stays with us. A little bit of that same magic is alive and well on the North Shore as the Skokie Theatre takes on The Lightning Thief: a Percy Jackson Musical.

The Lightning Thief: a Percy Jackson Musical is based on the popular novel of the same name by Rick Riodan. The musical follows Percy Jackson, a 12-year-old boy who newly discovers that he is a demigod and goes on a quest to find Zeus' missing lightning bolt and prevent a war between the Greek gods. With the musical’s book written by Joe Tracz and music by Rob Rokicki, this production has something for people of all ages. The musical first premiered on Broadway in 2014 with a rewrite and expansion run in 2017 though it hasn’t been widely performed in Chicagoland and it’s a shame. The musical is funny, witty, and simply magical.

Skokie Theatre only added to the charm of The Lightning Thief, the intimate vintage theatre lending itself to the production. Do not be deceived. This was no local community or high school production. The talent that brought this mythical story to life could grace any musical stage in Chicago and hold their own. Chicagoans will no doubt know the name P-Jay Adams who portrayed Percy Jackson, their pitch and vocal prowess a slice of magic in plot-moving musical numbers like “The Day I Got Expelled,” “The Campfire Song,” and “Killer Quest!” Adams led the plucky, youthful, and inclusive ensemble cast from the East coast to Los Angeles where the underworld resides. Delivering witty one-liners, embodying the characters of Gods and their angsty half-blood children, The Lightning Thief ensemble cast brought the mystical story to life and made us believe in the magic of the theatre.

While a Chicago theatre goer might not put Skokie or the North Shore on the map by comparison to so many powerhouses within the city, there is some kind of nostalgic magic at Skokie Theatre. Given the opportunity, Adams and many members of the ensemble cast could easily step onto any Broadway in Chicago stage. If given the production budget of a show like Death Becomes Her, The Lightning Thief: A Percy Jackson Musical would have the potential to make a spectacular run in Chicago.

The Lightning Thief: a Percy Jackson Musical is now playing on select dates at the Skokie Theatre located at 7924 Lincoln Ave in Skokie, IL through July 28th. Tickets are now available for purchase here. Lightning might not strike twice so don’t miss your chance to add a little magic to your evening and mock The Gods with your favorite demi-godlike hero.

It’s often quoted in reviews that we are unworthy of such beauty or splendor the arts and humanities afford us. The turn of phrase elicits images of Wayne and Garth of Wayne’s World bowing at the feet of Alice Cooper, or a dashing Bridgerton man dropping to a knee at the feet of a lithe debutante to profess his unworthiness of her affections. But in a world that increasingly takes more and more from us, we mere mortals, I challenge that we are worthy. We are worthy of beauty, of art, of the humanities. We are worthy to see the amalgamation of when talented artists bring a work of fiction to a stage, to hear clever prose intermingled with catchy musical numbers, and be visually wowed and transported out of our reality, if only for a few short hours. We are worthy of magic. And magic is precisely what Cadillac Palace Theatre is granting us in Death Becomes Her, the musical, now playing through June 2nd.

(l to r): Megan Hilty (Madeline Ashton), Jennifer Simard (Helen Sharp)

Death Becomes Her, hailed as musical comedy revitalized, is a new musical adaptation based on the 1992 Universal Pictures movie of the same name. When a novelist loses her man to a movie star and former friend, she winds up in a psychiatric hospital. Years later, she returns home to confront the now-married couple, looking radiant. Her ex-husband's new wife wants to know her secret and discovers that she has been taking a mysterious, magical potion which grants eternal life to the person who drinks it. The actress follows suit but discovers that immortality has a price in this supernatural, dark comedy. Producer and writer Marco Pennette transformed the play for the theater, which is directed and choreographed by Tony-nominated Christopher Gattelli. Tony Award nominees Jennifer Simard and Megan Hilty take the lead roles as Helen Sharp and Madeline Ashton, the former friends competing for the same man’s affection and finding a solution that is simply to die for. Renowned stage actor Christopher Sieber and millennial’s goddess Michelle Williams of Destiny’s Child round out the cast as Dr. Ernest Menville and Viola Van Horn (que thunder and lightning). It’s a dark comedy essential to add to any playbill collection.

Christopher Sieber (Ernest Menville)

Few Broadway shows, let alone any play, have had such an illustrious reception in Chicago. The gays, the theys, girlies young and old, allies and kings all donned their best summer theatre attire to attend last night’s performance, all dutifully in their seats the moment the play started with a literal CRASH of magenta-hued thunder. Lightning struck and we were all worthy to be transported to the magical world of New York City to follow the story of best frenemies Madeline Ashton and Helen Sharp. For the entire run time of 2 hours and 30 minutes (with a 15-minute intermission), Chicagoans were treated to an artistic cornucopia for the senses. The live orchestra playing catchy tunes, lavish scene and stage designs, alluring and dramatic costume designs, the illusion and fight sequencing, the lighting, the makeup, the sound, the dancing and musical arrangements, the orchestration, every single solitary artistic element left the audience spellbound and awestruck. Brought to life with the incredible talents of the four main cast members, supported by an inclusive, talented, and drop-dead gorgeous ensemble cast, Death Becomes Her is sure to be a powerhouse on the Broadway circuit for decades to come.

The cast of Death Becomes Her

In addition to the production quality and value delivered, what makes this adaptation so flawless is the story itself. The elegant-gothic motifs in Death Becomes Her are timeless and hold up in 2024 just as well as it did in 1992; beautiful women feeling the pressure of unrealistic societal beauty standards and attempting to defy the natural order of aging, friends as fierce rivals and competitors, love triangles, and the desire to remain as we are, to stop time. While Death Becomes Her might not be able to defy gravity, it does stop time for a blissfully fun three hours. And that is pretty damn magical.

Balanced with witty banter, clever one-liners, raunchy humor, and exceptionally timed comedic delivery, Death Becomes Her is exactly the realistic escapism we need in our chaotic world and one we are all supremely worthy to behold. The musical comedy is now playing at The Cadillac Palace Theatre (151 W Randolph St, Chicago) through June 2nd. Get your tickets today before they magically disappear.

Life comes at you fast. We go about our lives, navigating the ups and the downs, never really thinking of  more than the day to day, the little irritations of work, or being consumed by a new love. Then, as it always seems to go, something upends our life, like a life threatening illness. Suddenly everything that once consumed our thoughts becomes trivial, eclipsed by the momumentalness of the new reality. While most could succumb to the pressure of such news, others persevere, determined to live their life on their terms, regardless of knowing what lies ahead of them. This very real life scenario played out in Melissa Ross’ 'The Luckiest'.

Lissette and Peter are best friends living their best lives. But when an out-of-nowhere diagnosis shatters Lissette's world, Peter is left trying to pick up the pieces. Suddenly finding herself at odds with her best friend and her mom – who each come bearing strong opinions wrapped in good intentions – Lissette is forced to navigate between the two while unflinchingly forging her own path for her future. This tender, funny, and keenly-observed play explores the uncertain and sometimes heartbreaking territory of how we choose to take ownership of our lives. Melissa Ross’ moving play, full of heartbreak and hilarity makes its Chicago Premiere.

As one who nows cries at every sad or beautiful movie, play, or song, I fully expected to be clutching a tissue all evening while watching The Luckiest. As I watched Lissette, played by Cassidy Slaughter-Mason, and Peter, played by Christopher Wayland, throughout their friendship we see a beautiful complex narrative that forces the question, “who really is the luckiest?” Is the luckiest Lissette, who, despite this life ending illness, chooses her own fate and lives her life unabashedly? Is she the luckiest to have had such a friend as Peter, who helped her navigate her life with the illness? Perhaps the luckiest is Peter, who is lucky to have met and befriended Lissette, lucky to have had him in her life. One could say Lissette’s mother, played by Tara Mallen, is the luckiest to hae been there for her daughter in her time of need. Consider for a moment that the luckiest people are the survivors, Peter and Lissette’s mother, who live on no longer under the weight of caretaking nor bearers of the weight of such a onerous decision. Maybe the luckiest person is the one who chooses to leave this world, no longer in pain or heartache. 

The beauty of Melissa Ross’ 'The Luckiest' is that the lucky one is in the eye of the beholder. She holds a mirror to our lives with honesty, grounding, and even a little dark humor. I happen to think that we, the audience, are the lucky ones. We’re lucky to be spectators to such a story, to have our health and ability to see Lisette and hear her words, and walk away from the play knowing we too could have our lives changed at any moment; a reminder to live our lives. 'The Luckiest' is a substantioanlly light play that is sure to stay with you long after you leave the theatre, and we are all the more lucky for it.

'The Luckiest' is playing at Raven Theatre located at 6157 N. Clark Street, Chicago, IL 60660 through June 9th. Tickets are available at https://www.raventheatre.com/stage/the-luckiest/.

Dancing normally isn't my thing, but literature is. And "The Yellow Wallpaper" by Charlotte Perkins Gilman is, surprisingly, a better candidate than most short stories for a dance interpretation. It starts as something quaint, recognizable, and spirals its way into madness: something dance and music can convey potently.

Gilman's feminist classic "The Yellow Wallpaper" brought much-needed light to the issue of women's mental health when it was published in 1892, and it still sheds light on this often misunderstood experience today.

The postpartum-suffering protagonist of this story wants to be heard, but her husband silences her at every turn — confining her to the house, isolating her from friends, even discouraging her from writing — leaving her anxiety and confusion nowhere to turn but inward. She starts seeing things in the yellow wallpaper of her bedroom. She sees a woman trapped behind bars, her own situation playing out in the wallpaper every night. By the end, she and her hallucination are one and the same. With no other outlet for her emotions, she's turned herself into something flat and silent, but weirdly free.

And to see this all acted out through dance is visceral and wonderful.

This joint production by Chicago Danztheatre Ensemble and RE Dance Group comprises of two shows: "The Attic Room" by RE Dance and "The Yellow Wallpaper" by Danztheatre. The choreography by Michael Estanich and Ellyzabeth Adler, respectively, is desperate and graceful, the characters losing control in one moment and suspiciously, blithely sedated the next. The dance incorporated into the story was emotive and seamless. As a dance dummy, these vague terms are the best I can use to describe it, but what I can say is it made me feel things.

What was an unreliable narrator on paper, too wrapped in her psychosis to describe herself objectively, is now right in front of us, slowly losing it and crying out for help. While "The Attic Room" is more abstract, both productions depict a slow undoing of a character's reality, and the helplessness and confinement of not understanding her own mind.

"The Attic Room" and "The Yellow Wallpaper" are playing November 19th & 20th at 8PM at 1650 W Foster Ave. Tickets at Danztheatre's website.

On a beautiful plantation in the modern day South, a mother asks her three daughters what they would change in the world, if they could. After rattling off some Miss America-esque answers – including "giving a croissant to a homeless person" – the girls go back to their own self-interests, i.e. taking recreational painkillers and prepping for a reality show audition.

Their world gets turned upside down when their mother announces that they will be hosting, and gifting the deed of the family plantation to, three black women, women who are descendants of a slave who worked on the plantation and had relations with the family's great-great-grandfather. Although with very different backgrounds, upbringings, and access to privilege due to skin color, these seven women are family.

Not to get all "Webster's Dictionary defines..." but I have to say it a little louder for the All Lives Matter folks in the back: A privilege is a special advantage or benefit available only to a particular person or group of people. A benefit, for instance, like a big, beautiful plot of land that your family forced slaves to maintain. Or, for instance, a thriving business that has clothed, fed, and housed generations of white descendants for centuries while providing nothing to the black descendants of the people without whom there wouldn't be a business. The slaves did the work, yet it's the family of the slaveowners who reap the benefits.

This 21st century answer to reparations is inspiring and brilliantly funny, with a fast-paced and clever script by Kevin Douglas and superb directing by David Schwimmer. Plantation! is both a conversation starter and high quality entertainment. Chaos and comedy ensue while the six girls try to make nice and get to know each other, all while griping beyond each others' backs about who really deserves the plantation. The play is a hilarious send-up of well-meaning white people; who sincerely want to help, yet do nothing when presented with the chance to do so; who swear up and down they aren't racist, yet date a member of the KKK because he doesn't go to "all" of the meetings.

In one scene, the girls are all Southern-Belle'd out in big, old-fashioned dresses for a fancy dinner on the estate. When the black girls turn on some music and start dancing, one of the white girls yells that it's like they have Beyonce in the house. Her sister admonishes her, "That's racist."

"No, it's not. That's a compliment," one of the black girls replies, high-fiving her sisters. The white sister who thought she was rightly calling out racism shakes her head, "You people are confusing." The black sisters share a glance. "That's racist," they say. Case in point, maybe listen to what people who experience racism have to say about it before defining racism for them. (Also, rule of thumb, don't make black people explain Black Lives Matter to you – which, naturally, plays out onstage here. Google is your friend.)

Finally, the cast of eight women knocked it out of the park with their chemistry and comedic timing. Besides the fabulous poofy dresses, it seemed to me that this play could've been cast with either men or women and the story would be the same. Props to Lookingglass and Douglas for not setting the default to "male." And for not being afraid to have a mixed race cast discuss race and make everyone in the audience, to use the playwright's own word, a little "funcomfortable".

Plantation is playing at Lookingglass Theatre Company through April 22nd. Tickets on LookingglassTheatre.org.

Unlike the preamble to the constitution, you – the people – won't find any established justice or domestic tranquility in Trump's America. Enter the Anti-Trump Musical.

Last Saturday, Flying Elephant Productions premiered We the People, a new musical featuring a cast of six singing original songs with music and lyrics by Leo Schwartz and book by Sean Chandler. In a little over an hour, the show revisits the Democratic and Republication national conventions, election night 2016, the immediate morning after, and the dawning chaos of what it means to live under a President Trump.

The musical serves as a warning of sorts, but it is too little too late. If anything, it would likely inspire people to vote in the midterm elections, and just VOTE in general so we don't wind up in this "unpresidented" (to use a term from our current president) situation again.

Part of me wanted the show to be harsher on Trump, but I can see where too abrasive of an approach would potentially turn people off. Another part of me wanted it to be funnier, because what's more of a joke than a highly unqualified reality television star becoming one of the most powerful politicians on the planet? But the reality of that is truly frightening far more than funny. The songs convey anger, and yes, some humor, but what the show does best is present the facts and give intelligent, level-headed commentary – something our country is in vast shortage of these days.

We the People is playing at Stage 773 at 1225 W Belmont Ave through February 10th.

What more can be said about the phenomenon that is Hamilton: An American Musical? The ever-growing hype, not to mention the genius content, speak for themselves. It was nothing less than an absolute thrill to finally sit down to see this musical after nearly a year of obsessing over the 46 - yes, forty-six - song soundtrack. Who ever knew that textbook American history could be so exciting and jarringly relevant?

The nearly three hour, entirely sung/rapped performance takes the audience through the life of the "ten dollar founding father" Alexander Hamilton. Before creator Lin-Manuel Miranda masterfully brought Hamilton's biography to the stage, everyone who isn't a history teacher likely only knew Hamilton from the ten dollar bill, but, contrary to a recurring lyric in the show, there were a million things he did for the country. Namely, he created a financial plan that saved America in a time of major debt as well as established the first national bank. If that sounds dry, it's only because you haven't heard "The Room Where It Happens" yet.

Not only does the story cover Hamilton's achievements and downfalls, but it paints a vivid portrait of colonial life, the complications of war during the American Revolution, and the messy aftermath of establishing a new nation. Other important historical figures we'd normally associate with flat images in books or on paper money are also presented as fully-fledged and in the flesh, such as George Washington, Aaron Burr, Thomas Jefferson, and James Madison, among others. Central to the story as well are the two female leads of the show, Eliza and Angelica Schuyler, who were daughters of a wealthy revolutionary-turned-senator and may not have been widely known before but are certainly getting the recognition they deserve now. To top it off, these exclusively white historical figures are portrayed by people of color, keenly driving home the show's message regarding immigrants' roles in the founding of our country and representing a current snapshot of American life.

All of this is fueled by the exquisitely-crafted music and intelligent lyrics that have astounded listeners of all ages and creeds. With most of the lyrics rapped, there is room for an incredible amount of detail, proving further that Miranda is nothing less than a creative genius. Only rap would allow literal paragraphs of information to fit into a single song, and this style serves the purpose of the musical brilliantly in conjunction with the more traditionally sung parts that, in turn, give the audience small breaks to digest everything.

The Chicago cast is immensely talented - imagine all the actors who auditioned for these coveted roles - and can easily hold a candle to its Broadway equivalent. Many of the actors play multiple roles, impressively switching characters from Act One to Act Two. Favorites for me included Chris Lee as a hilariously arrogant Jefferson, Ari Afsar as a strong yet vulnerable Eliza, and Joshua Henry as the smooth-voiced nemesis to Hamilton, Aaron Burr (sir).

It's hard to say when the last time a musical of this magnitude and social significance came around, as nothing that has been done before can really compare to Hamilton. Truly unique, engaging, educational, sharp, funny, heartbreaking, and moving, we should appreciate getting to witness this watershed moment in Broadway history and heed advice from the repeated Hamilton lyric to "look around at how lucky we are to be alive right now!"

Hamilton is playing at the Private Bank Theater at 18 W Monroe St. now and indefinitely. Tickets can be purchased on Ticketmaster, or you can enter the daily ticket lottery here.