This Pride Month, the electrifying musical "SIX" playing at the James Nederlander Theatre isn’t just a celebration of female empowerment – it's a vibrant anthem for self-expression and defying societal expectations. Forget the dusty history books and the traditional view of Henry VIII's wives as mere pawns. "SIX" explodes onto the stage with a pop-infused rebellion, reclaiming the narrative and reminding us that queens can tell their story in their own way.

"SIX," created by Toby Marlow and Lucy Moss, reimagines the six wives of Henry VIII as pop divas, each telling her story through a series of show-stopping songs. The musical is a fusion of history, pop culture, high camp, and a feminist reawakening, presented with a diverse and inclusive cast that adds layers of contemporary relevance.

From the moment the lights go down and the opening chords reverberate through the theater, "SIX" grabs the audience’s attention and never lets go. The set, minimalist yet striking, thanks to lighting design by Tim Deiling, serves as a dynamic playground for the queens, with each number featuring dazzling choreography and impressive vocal performances. The cast, a powerhouse ensemble of six immensely talented women, delivers each song with such conviction and charisma that it's impossible not to be swept up in their stories. They are accompanied by The Ladies in Waiting - a four-piece band consisting of Jane Cardona on keyboard, Sterlyn Termine on bass, Rose Laguana on guitars and Kami Lujan on drums

The show kicks off with the exuberant "Ex-Wives," an introduction immediately establishing the premise: the six queens are here to reclaim their narratives, casting off the shadow of Henry VIII to shine in their own right. Each queen’s song is distinct, reflecting her unique personality and circumstances.

Catherine of Aragon’s (Kristina Leopold) "No Way" is an anthem of resilience and defiance, performed with fiery passion that sets the tone for the show’s celebration of female strength. Anne Boleyn’s (Cassie Silva) "Don’t Lose Ur Head" blends humor with tragedy, capturing her youthful rebellion and ultimate downfall. Jane Seymour’s (Kelly Denice Taylor) heart-wrenching ballad, "Heart of Stone," showcases vulnerability and loyalty, providing a poignant contrast to the more upbeat numbers.

“House of Holbein,” set in the portrait studio of Germany's Hans Holbein the Younger, is the most techno-infused song of the evening. From the costumes to the lighting to the song's lyrics ("Try these heels, so high it’s naughty, but we cannot guarantee that you’ll still walk at forty"), the musical number transported me back to the iconic club scene of NYC’s Limelight circa 1989.

Anna of Cleves (Danielle Mendoza) brings the house down with "Get Down," a confident assertion of independence that resonates with themes of self-acceptance and freedom, core values of Pride Month. Katherine Howard’s (Taylor Sage Evans) "All You Wanna Do" is a powerful critique of objectification and a moving testament to her desire for genuine love and respect. Finally, Catherine Parr’s (Adriana Scalice) "I Don’t Need Your Love" is a triumphant declaration of self-worth and autonomy, a fitting culmination that leaves the audience empowered and inspired.

What sets "SIX" apart is not just its infectious music and compelling performances but also its underlying message of reclaiming identity and rewriting history. In the context of Pride Month, this theme takes on added significance. The LGBTQ+ community has long fought to assert their identities, often in the face of marginalization and erasure. "SIX" echoes this struggle, as each queen refuses to be defined by her relationship to Henry VIII, instead asserting her individuality and worth.

The production’s commitment to diversity is also noteworthy. The casting is refreshingly inclusive, reflecting a range of ethnicities and body types, which enhances the show’s relatability and appeal. This inclusiveness extends beyond mere representation; it is woven into the fabric of the performance, celebrating differences and promoting a message of unity and acceptance.

The show’s structure as a pop concert allows for a level of interaction and engagement that traditional musicals might not achieve. The queens frequently break the fourth wall, directly addressing the audience and inviting them into their world. This interactive element creates a sense of community and shared experience, much like the atmosphere of Pride celebrations.

"SIX" is more than a musical; it is a powerful declaration of empowerment and identity. The vibrant celebration of the queens’ stories beautifully aligns with the values of Pride Month, making it an essential production to experience during this time of year. With dynamic performances, infectious energy, and profound messages, "SIX" leaves an indelible mark on its audience, emphasizing the importance of owning our narratives and celebrating our true selves. It's a reminder that finding your voice and claiming your story is the ultimate act of rebellion. "SIX" is a celebration of defying expectations and embracing who you are, unapologetically. So, get ready to "Get Down With Herstory" because this show reminds us that even queens can rock.

When: Through July 14

Where: James Nederlander Theatre 24 W. Randolph Chicago

Running time: 1 hour, 25 minutes

Tickets: $35.50-$95.50 at 800-775-2000

                  www.broadwayinchicago.com

"Stokely: The Unfinished Revolution" a world premiere written by Nambi E. Kelley and directed by Tasia A. Jones, ambitiously attempts to capture the essence of civil rights icon Stokely Carmichael in a mere 90-minute play. The title, hinting at a deep dive into Carmichael's revolutionary ideologies, might mislead audiences expecting a detailed exploration of his political maneuvers. Instead, the play serves more as a biographical sketch, intricately weaving his personal and public life, spotlighting his relationships and the internal and external battles he faced.

The enormity of condensing Carmichael's life into such a brief performance is a challenge that Nambi E. Kelley undertakes with both reverence and creativity. Kelley is no stranger to tackling monumental projects; her play "Native Son," based on Richard Wright's 400+ page book, is currently receiving a formidable production at Lifeline Theatre. In "Stokely: The Unfinished Revolution," the narrative framework is structured around Carmichael's awareness of his impending death, prompting him to reflect on his life and legacy. This introspective journey provides a poignant lens through which the audience views Carmichael not just as a historical figure but as a man grappling with his mortality and the weight of his contributions to the civil rights movement.

While Tasia A. Jones has made quite a name for herself in Chicago theaters, this production marks her directorial debut at Court Theatre. Jones's direction shines with emotional depth, sharp focus, and a remarkable ability to elicit compelling performances from her actors. She adeptly handles a challenging script, showcasing her exceptional directorial skills. The ensemble's stellar performance is a testament to her distinct and impactful style.

Anthony Irons delivers a compelling performance as Stokely Carmichael. His portrayal captures the charismatic and fiery spirit of Carmichael, while also delving into his vulnerabilities and moments of introspection. Irons manages to convey the depth of Carmichael's character, balancing his revolutionary zeal with the emotional complexities of his personal relationships.

Melanie Brezill stands out with her portrayal of Tante Elaine, Stokely’s aunt, as well as Miriam Makeba and other influential women from the civil rights era. Brezill's performance is marked by a powerful presence and a keen sense of empathy, bringing to life the experiences and struggles of these women. Her versatility and emotional range make her scenes particularly memorable, adding depth and resonance to the play.

Dee Dee Batteast is versatile in her roles, including Cecilia Carmichael, Stokely’s grandmother, and other characters. She adds layers of historical and emotional context to the narrative, seamlessly transitioning between different personas. Her ability to inhabit multiple characters with distinct voices and mannerisms enriches the storytelling and provides a broader perspective on Carmichael's life.

Kelvin Roston Jr. is reliably excellent in his multiple roles, including Adolphus Carmichael, Stokely’s father, and significant figures like Martin Luther King Jr and James Baldwin. Rolston’s ability to embody such diverse and iconic characters with authenticity and gravitas anchors the play, providing continuity and a sense of historical significance.

Wandachristine, playing May Charles, Carmichael’s mother, offers a nuanced performance that highlights the familial tensions and deep love that defined their relationship. Her interactions with Irons are charged with emotion, revealing the often-complicated dynamics between a mother and her son, particularly when that son is a prominent figure in a tumultuous era.

The fluidity of the play’s structure is mirrored in its set design. Yeaji Kim’s creation of a massive chest of drawers, filled with books and papers, serves as a dynamic backdrop. This design not only symbolizes the vast repository of knowledge and history that Carmichael sought to preserve but also facilitates quick transitions between different times and places. The set is both functional and metaphorical, enhancing the thematic elements of legacy and memory.  The main set piece transforms in a surprising and unexpected manner I won't reveal here, preserving the thrill of discovery.

Daphne Agosin's lighting design and Willow James's sound design work in harmony to create a vivid sense of time and place. The lighting shifts subtly yet effectively, guiding the audience through various moments in Carmichael's life. Meanwhile, the sound design incorporates period-specific music and ambient sounds, grounding the narrative in its historical context and enhancing the emotional impact of the scenes.

Kelley’s script is a deft blend of personal reflection and historical narrative. The dialogue is sharp and evocative, capturing the essence of Carmichael's rhetoric while also revealing his personal struggles. The tension between Carmichael and his mother is a central theme, adding a deeply human dimension to the story. This relationship is portrayed with honesty and sensitivity, illustrating how personal bonds can influence and complicate one's public mission.

"Stokely: The Unfinished Revolution" succeeds in presenting a multifaceted portrait of Stokely Carmichael. The production humanizes him by portraying his strengths, flaws, public triumphs, and private tribulations. While the play might not satisfy those seeking an exhaustive examination of Carmichael's revolutionary strategies — I would have loved to have seen the transformation from Stokely Carmichael to Kwame Ture—it offers a rich, intimate glimpse into his life and legacy.

In capturing the essence of a man who was both a pivotal figure in the civil rights movement and a son, "Stokely: The Unfinished Revolution" provides a powerful theatrical experience. It serves as a reminder of Carmichael's enduring impact and the personal sacrifices that underpin the fight for social justice. The performances, direction, and design elements coalesce to create a compelling and thought-provoking tribute to a man whose revolution, indeed, remains unfinished.

Highly Recommended

When: Through June 16

Where: Court Theatre, 5535 S. Ellis Ave.

Tickets: $23.50 - $69.50

Info: CourtTheatre.org

Run time: 90 minutes, no intermission

Lifeline Theatre’s production of "Native Son," directed by Ilesa Duncan and adapted by Nambi E. Kelley from Richard Wright’s seminal novel, is a masterful exploration of urban naturalism. With powerful performances and an incisive adaptation, the play captures the harrowing tale of Bigger Thomas, a young Black man whose life spirals out of control in 1930s Chicago.

The adaptation stays true to the novel’s brutal honesty, portraying a world where characters are shaped and ultimately doomed by forces beyond their control. Much like Upton Sinclair's "The Jungle," the narrative of "Native Son" is driven by the crushing weight of systemic racism and economic oppression. Duncan's direction ensures that every moment of this production is charged with a sense of inevitability, creating a haunting and immersive experience.

Nambi E. Kelley’s adaptation of "Native Son" powerfully employs W.E.B. DuBois's concept of "double consciousness" by dramatizing Bigger Thomas's internal conflict and the way he is perceived by the larger society. This duality is embodied in the character of The Black Rat, who represents Bigger's internal voice, and his awareness of the limitations imposed on him by a racially prejudiced society. Through dialogues and interactions with The Black Rat, Bigger’s consciousness is split between his self-perception and the identity forced upon him by systemic racism. This dramatization underscores the psychological toll of navigating a world where Bigger must constantly reconcile his personal identity with the dehumanizing stereotypes projected onto him by the white society, highlighting the perpetual struggle and fragmentation described by DuBois.

Tamarus Harvell delivers a riveting performance as Bigger Thomas, embodying the character's internal turmoil and external pressures with raw intensity. Harvell's portrayal captures the complexity of Bigger’s emotions—from his initial bravado and suppressed rage to his ultimate desperation and fear. His interactions with other characters reveal layers of vulnerability and frustration, making Bigger a deeply sympathetic figure despite his tragic actions.

Kamille Dawkins as Hannah, Bigger's mother, brings a poignant depth to her role. Her portrayal of a woman struggling to hold her family together amid relentless poverty and systemic racism is heart-wrenching. Dawkins' performance highlights the generational despair that permeates the Thomas family, adding a layer of emotional gravity to the narrative.

Mandy Walsh’s Mrs. Dalton is a study in benevolent racism. Blind and wealthy, Mrs. Dalton represents the liberal white America that believes in charity but remains blind to the systemic injustices it perpetuates. Walsh’s nuanced performance underscores the dissonance between Mrs. Dalton’s intentions and the impact of her actions on Bigger's life.

Laura Nelson as Mary Dalton and Nick Trengove as her boyfriend Jan play their roles with a blend of naivety and rebellious idealism. Their interactions with Bigger are uncomfortable, filled with well-meaning condescension that reflects their ignorance of the harsh realities faced by Black Americans. Nelson and Trengove adeptly capture the obliviousness of privileged youth, making their characters' tragic fates feel both inevitable and avoidable.

James Lewis, portraying The Black Rat, Bigger’s alter ego, adds a layer of psychological complexity to the production. This character, representing Bigger’s internal struggle and dual consciousness, is a haunting presence on stage. Lewis’ performance is both eerie and empathetic, providing insight into Bigger’s fragmented psyche and the pervasive influence of fear and anger.

Ashli Funches excels in her multiple roles as Bessie, Vera, and Leslie, showcasing her versatility and depth as an actress. Her portrayal of Bessie, in particular, is both tender and tragic, illustrating the collateral damage of Bigger’s actions and the broader societal constraints on Black women.

Gabe Fries as Detective Britten embodies the oppressive force of the law, delivering a performance that is both menacing and emblematic of institutional racism. His interactions with Bigger are charged with tension and prejudice, making the audience viscerally aware of the systemic barriers faced by the protagonist.

Dairyon Bolden’s Buddy, Bigger’s younger brother, brings a touch of innocence and hope to the bleak narrative. Bolden’s performance contrasts sharply with the despair surrounding him, emphasizing the devastating impact of systemic injustice on the younger generation.

The set design by Regina Garcia is both functional and symbolic, creating an oppressive urban environment that reflects the entrapment of the characters. The use of confined spaces and stark lighting enhances the sense of claustrophobia and inevitability that pervades the production. The minimalistic yet evocative set serves as a constant reminder of the harsh realities of Bigger's world. I wish the pre-show had featured music from the late 1930s to better immerse the audience in the play's historical setting.

Duncan’s direction ensures that every element of the production works in harmony to deliver a powerful message about race, poverty, and the human condition. The pacing is relentless, reflecting the constant pressure on Bigger as he navigates a world stacked against him. The use of sound and lighting to heighten tension and underscore critical moments is particularly effective, drawing the audience deeper into Bigger’s harrowing journey.

Lifeline Theatre’s "Native Son" is an important piece of theater, offering a poignant and unflinching look at a society riddled with racial and economic injustices. The stellar performances and Duncan’s incisive direction make this adaptation a must-see, offering a powerful reminder of the enduring relevance of Wright’s work. In capturing the essence of urban naturalism, this production not only honors the original novel but also provokes crucial reflections on contemporary issues of race and justice.

Highly Recommended

When: Through June 30

Where: Lifeline Theatre,  6912 N. Glenwood

Running time: 90 minutes

Tickets: $45 at

773-761-4477 and www.lifelinetheatre.com

“James was deeply aware of the anguish associated with denying others their authenticity; His famous Frankenstein wasn’t a murderous monster. His heart’s desire was friendship cleverly bestowed upon him by a blind man”.    Norm Woodel

Frame of Reference Productions In Association with The Woodel Inspiration Fund has embarked on a daring and poignant new stage adaptation of "Gods & Monsters," based on Christopher Bram's 1995 novel "Father of Frankenstein" and its acclaimed 1998 screen version. This production, under the innovative direction of Paul Oakley Stovall and the creative script by Tom Mullen, brings to life the fictionalized final days of James Whale with a fresh perspective and a profound exploration of identity, empathy, and the human condition.

Scott Westerman as James Whale delivers a masterful performance, capturing the complexity of a man whose health and career are in decline, yet whose spirit remains fiercely alive. Westerman’s portrayal is both haunting and tender, embodying Whale’s struggles with mortality and his reflections on a life marked by both brilliance and tragedy. His nuanced performance allows the audience to feel Whale’s pain, his moments of joy, and his gradual descent into the depths of mental decline.

Rashun Carter as Clayton Boone is a revelation. In a bold move, Boone is reimagined as a Black man, a decision inspired by Whale’s own casting of Black activist Paul Robeson in "Show Boat." Carter, who I recently saw in “Judy's Life's World” brings depth and sensitivity to Boone, portraying him as more than just a muse or object of affection; he is a fully realized character whose presence challenges and ultimately changes Whale. The chemistry between Westerman and Carter is palpable, their interactions charged with warmth and a delicate balance of power and vulnerability.

Doreen Calderon as Maria Ramirez, Whale’s housekeeper, provides a compelling performance that adds another layer of richness to the narrative. Calderon’s Maria is both protective and candid, her Mexican heritage bringing a new dimension to the story. This character’s evolution reflects the broader themes of race and empathy that Mullen seeks to explore. Calderon’s ability to convey strength and warmth in her role makes her a standout in the cast.

Ethan Check as Edmund Key and Michael Stejskal as David Lewis offer strong supporting performances, each bringing their unique dynamics into Whale’s world. Check’s Edmund Key, a figure from Whale’s past, and Stejskal’s David Lewis, Whale’s loyal companion, both serve as crucial elements in understanding the protagonist’s internal and external conflicts.

The decision to center the theme of race in this adaptation is executed with sensitivity and insight. Mullen’s script honors Bram’s original work while introducing contemporary resonances that feel both timely and timeless. The narrative weaves together the personal and the political, showcasing how Whale’s identity and experiences shaped his empathy for the marginalized—a trait that is evident in his cinematic masterpieces.

Paul Oakley Stovall’s direction ensures that the story remains intimate and character-driven, even as it tackles broad societal issues. Stovall’s understanding of the material’s emotional core allows for moments of genuine connection and introspection. His approach, combined with Mullen’s articulate script, brings out the universal themes of loneliness, aging, and the desire for intimacy in the face of repressed desires and past traumas.

Most of the action unfolds within the mind of James Whale, brought to life through the creative vision of set designer Ben Lipinski and the collaborative efforts of lighting and projections designer Mike Tataj. They seamlessly weave time and place together, creating a cohesive tapestry of scenes. The use of scrims with projected scenes pays homage to Whale’s legacy as a filmmaker. This production boasts the highest production values I have seen thus far this year.

In conclusion, "Gods & Monsters" is a triumph, primarily due to the compelling bond between Whale and Boone. This thoughtful, provocative, and deeply moving adaptation honors its source material while offering fresh insights. The powerful performances, meticulous direction, and insightful script coalesce to create a theater experience that resonates on multiple levels, emphasizing our shared humanity and the transformative power of empathy. This production not only tells the story of James Whale but also mirrors society, highlighting the ongoing struggles and triumphs of those who dare to be different, all through the lens of Whale and Boone's evolving friendship.

Highly Recommended

When: Through June 2

Where: Theatre Wit 1229 Belmont Avenue

Running time: 1 hour, 30 minutes

Tickets: $12.75 - $47.75 (student & senior tickets)

www.godsandmonstersonstage.com 

In "Panther in the Sky," playwright Lani T. Montreal masterfully weaves a tapestry of grief, resilience, and redemption through the intertwined narratives of four culturally diverse mothers who have tragically lost their teenage sons to the relentless grip of gun violence on the streets of Chicago. With exquisite sensitivity and profound insight, Montreal crafts each character with depth and authenticity, allowing their voices to resonate with universal truths while honoring the specificity of their individual experiences.

What sets "Panther In The Sky" apart is Montreal's unwavering commitment to portraying the rich diversity of human experience. Through the characters of Mami (Aida Palma Carpio), Momma (Jamia Amira Taylor), Nanay (Nina Mae Vidal Howard), and Mother (Venice Averyheart), she explores the intersections of race, ethnicity, and socio-economic status, shining a spotlight on the unique challenges and triumphs faced by mothers from different cultural backgrounds. From Mami's fiery Latina spirit to Nanay's quiet strength rooted in her Asian heritage, Montreal celebrates the beauty of cultural diversity while highlighting the common thread of maternal love that binds these women together.

Director Mignon McPherson Stewart's masterful direction brings Montreal's characters to life with nuance and depth, drawing out the humanity in each of them with grace and sensitivity. Through subtle gestures, expressive movements, and evocative staging, Stewart invites the audience into the inner world of these grieving mothers and their spectral sons, allowing us to bear witness to their pain, their resilience, and their unwavering commitment to justice.

To convey the youthfulness of the sons, Stewart incorporates physicality and movement into the actors' performances, encouraging them to embody the exuberance and vitality of adolescence through expressive gestures, playful interactions, and dynamic stage presence. From Eddie's (Gustavo Duran) infectious laughter and James's (Kyle Johnson) irrepressible curiosity to David's (James Macapagal) endearing awkwardness and Michael's (Rashaad A. Bond) magnetic charisma, each actor infuses their portrayal with a sense of youthful energy that lights up the stage.

Stewart imbues these characters with a palpable sense of youthfulness, wonder, and promise, juxtaposing their ethereal presence with the stark reality of their untimely deaths. Through her insightful direction, Stewart captures the essence of adolescence—the boundless energy, the infectious enthusiasm, and the unbridled optimism that characterize this stage of life—while also infusing the characters with a sense of otherworldly wisdom and compassion beyond their years.

Stewart's genius lies in her ability to find the universal in the particular—to transcend the boundaries of race, culture, and identity to reveal the shared humanity that unites us all. Through her visionary direction, she guides her ensemble cast to deliver performances of breathtaking honesty and emotional resonance, leaving audiences spellbound and deeply moved.

The uncredited minimal set design, atmospheric soundscape by Rahsaan Nance, musical direction by Chip Payos, and evocative lighting design by Joshua Paul Weckesser seamlessly meld the two worlds of life and death, creating a hauntingly beautiful tapestry that transcends the boundaries of time and space. The minimal set, devoid of clutter and distraction, serves as a blank canvas upon which the emotional journey of the characters unfolds, reflecting the universality of the human experience. Rahsaan Nance's atmospheric soundscape, with its ethereal melodies and haunting echoes, envelops the audience in a world of emotion and atmosphere, blurring the lines between the earthly realm and the afterlife. Chip Payos's musical direction adds depth and resonance to the production, songs mourning lost potential were especially heart wrenching. Joshua Paul Weckesser's evocative lighting design, with its subtle shifts in color and intensity, underscores the interplay between light and shadow, life and death, guiding the audience on a journey through the depths of grief and the heights of hope. Together, these elements converge to create a transcendent theatrical experience.

"Panther in the Sky" marks the world premiere collaboration between Chicago Danztheatre Ensemble and Circa Pintig, following their successful partnership on "Daryo’s All-American Diner." While it may be tempting to label this as Chicago Danztheatre Ensemble's most ambitious work yet, such a statement would overlook the consistent trend of each production surpassing the last in both subject matter and execution. With a steadfast dedication to inspiring positive change through performance and social justice theatre, CDE, as articulated by its Executive Director Ellyzabeth Adler, remains committed to amplifying the voices of the marginalized and shedding light on important issues.

At its core, "Panther in the Sky" is a testament to the power of empathy, compassion, and solidarity in the face of unspeakable tragedy. It is a play that challenges us to confront the harsh realities of gun violence while inspiring us to act and make a difference in the world. In the hands of Montreal and Stewart, it becomes not just a piece of theater, but a profound and transformative experience—one that leaves an indelible mark on the hearts and minds of all who are fortunate enough to witness it.

Highly Recommended

When: May 3 to 18 Friday/Saturday @8pm

Where: The Auditorium at Ebenezer Lutheran Church

               1650 W. Foster Avenue

Running time: 1 hour, 15 minutes

Tickets: $10 - $30 (middle and High School students free)

https://www.circapintig.org/events/

https://www.danztheatre.org/panther-in-the-sky.html

This year's Alvin Ailey American Dance Theater 65th-anniversary engagement at Chicago's historic Auditorium Theatre held particular importance as it marked the company's first season after Artistic Director Robert Battle's departure. Battle was only the third person to lead the company in its 65-year history, following Alvin Ailey and Judith Jamison. During this transitional period, Matthew Rushing is serving as Interim Artistic Director. Despite these changes, the program offered a dynamic evening of dance, featuring both iconic works and innovative new pieces.

The performance opened with a vibrant expression of grace, patience, and elegance in Ronald K. Brown's "Dancing Spirit."  A dancer gracefully moves through a sequence of elegant arm extensions while standing in a spotlight upstage. Soon, other dancers join in, echoing the movements with slight variations. The pulsating African-diasporic soundscape fueled the dancers, clad in tie-dyed blue and white dresses and separates. They moved with a reverent, almost ecstatic joy. "Dancing Spirit" served as a potent reminder of the company's deep connection to its African American heritage and as a homage to Artistic Director Emerita, Judith Jamison.  The exceptional cast of dancers, Hannah Alissa Richardson, Deidre Rogan, Coral Dolphin, Jacquelin Harris, Solomon Dumas, Christopher Taylor, Christopher R. Wilson, Michael Jackson Jr., and Xavier Mack brought the stage to life with their extraordinary performances.  Throughout the performance, glimpses of the opening are interwoven into the choreography, leading to a jubilant finale. The music selection, featuring compositions by Duke Ellington, Wynton Marsalis, Radiohead, and War coupled with the lighting design by Clifton Taylor provided a rich and dynamic backdrop that complemented the dancers' artistry and passion.

Alvin Ailey American Dance Theater in Kyle Abraham's Are You in Your Feelings

Kyle Abraham's "Are You in Your Feelings?" marked an emotional shift in the performance, presenting a sexually and emotionally charged piece that contrasted with the regal opening. The dancers, dressed in jewel tones of indigo, ruby, emerald, citrine, and amethyst by costumer Karen Young, explored themes of vulnerability and self-discovery, navigating the complexities of finding and losing love. Abraham's choreography emphasized nuanced gestures and emotional authenticity, with the dancers expressing a range of emotions, including longing, frustration, jealousy, contempt, same-sex and self-love. Their performances featured voguing duckwalks, fluid body waves, and other sensual movements. The narrative was supported by modern music choices, including Erykah Badu's soulful "I'll Call U Back" and Jhené Aiko's tender "While We're Young," as well as classics like The Flamingos' "I Only Have Eyes for You" and Shirley Brown’s “Woman to Woman” and contemporary tracks such as Kendrick Lamar's "LOVE”.  The featured dancers included Caroline T. Dartey, Solomon Dumas, Samantha Figgins, James Gilmer, Ashley Kaylynn Green, Michael Jackson, Jr., Renaldo Maurice, Ashley Mayeux, Corrin Rachelle Mitchell, Chalvar Monteiro, Miranda Quinn and Deidre Rogan. Ultimately, this introspective work offered a profound glimpse into the emotional complexities of the human experience.

The program culminated with the iconic "Revelations," a cornerstone of the Ailey repertoire. Divided into three sections, “Pilgrim of Sorrow”, “Take Me To The Water” and “Move, Members, Move”, each section represents different aspects and experiences in the African American Southern Baptist worship. From the prayers for salvation in “Didn’t My Lord Deliver Daniel”, the baptism in “Wade in the Water,"  and the congregate of members in “Rocka My Soul in the Bosom of Abraham “ each section resonated with emotional depth. The dancers delivered powerful performances, their bodies embodying the struggle, resilience, and spiritual fervor depicted in the music.

Ailey once said in an interview. “I’m interested in putting something on stage that will have a very wide appeal without being condescending; that will reach an audience and make it part of the dance; that will get everybody into the theater. If it’s art and entertainment—thank God, that’s what I want to be.”   

The audience erupted in a standing ovation, a testament to the enduring power of this groundbreaking work.  Ailey's choreography remains a potent portrayal of the African American experience, weaving spirituals, and gospel music into a moving journey.

While Artistic Director Robert Battle's absence will certainly be felt, the company will navigate this transitional period with grace. The program's curation, showcasing established masterpieces alongside contemporary voices, hints at the stability of the company.

Celebrating its 55th engagement at the Auditorium Theatre, the Ailey company's return held a special significance for Chicago audiences. The historic venue, with its ornate architecture and rich acoustics, provided the perfect backdrop for these powerful works. The palpable energy between dancers and audience offered a potent reminder of the transformative power of live dance and the importance of artistic expression, especially during times of transition.

As the curtain fell on "Revelations," one couldn't help but feel the joy of witnessing exceptional artistry and the hopeful anticipation of what the future holds for the Alvin Ailey American Dance Theater. This 65th anniversary program served as a poignant bridge between the company's rich legacy and the exciting possibilities that lie ahead.

Highly Recommended

When: Through Sunday

Where: Auditorium Theatre, 50 E. Ida B. Wells Drive

Running time: 2 hours, 25 minutes with two intermissions

Tickets: $40-$174 at 312-341-2300 and auditoriumtheatre.org

The expansive, opulent home exudes an air of solid middle-class comfort, boasting a formal dining area, an upright piano, and multiple doors leading to various sections of the house. A bay window graces an alcove, while a grand staircase ascends to the sleeping quarters on the second floor. Adorning the walls are portraits commemorating significant moments in the family's history, including images of MLK and Rosa Parks alongside the patriarch. This residence, nestled in the Jackson Park Highlands—an economically segregated enclave on Chicago's South Side—radiates a sense of peace, tranquility, and nobility. Soon, however, it will transform into a bustling hive of activity.

Branden Jacobs-Jenkins, a MacArthur Fellow and Pulitzer Prize finalist is a chameleon in the world of dramatist.  He wrote the controversial Obie Award-winning “An Octoroon”; the satirical  thriller “Gloria”, and the southern plantation drama “Appropriate” which received its world premiere in Chicago. Branden Jacobs-Jenkins is not a Black playwright, he is a playwright who just happens to be Black.  He would have it no other way. He doesn’t allow himself to be classified to any specific genre of storytelling. His influences are as varied as the plays he writes.

"Purpose," directed by the Tony Award-winning actress and director Phylicia Rashad, is nothing short of extraordinary. It transcends the confines of a mere family drama, delving deep into the realms of a virtual character study.

(left to right) Harry Lennix and Ayanna Bria Bakari with ensemble members Glenn Davis and Jon Michael Hill in Steppenwolf Theatre Company’s world premiere of Purpose by Branden Jacobs-Jenkins, directed by Phylicia Rashad.

The Rev. Solomon "Sonny" Jasper is a civil rights icon. He has marched for justice and witnessed important moments in the Civil Rights Movement. He has met with influential figures like Rosa Parks and Nelson Mandela. His income comes primarily from speaking engagements and donations. He has dedicated his life to helping others. He tried to raise his two sons according to his values, church and state. Naz was to be a pastor and  Solomon Jr. was in politics.  Now retired, he has taken up beekeeping, perhaps to find purpose in his life.

His wife Claudine Jasper is the proverbial women behind the man. She takes care of her family and is the strength they rely upon. A lawyer by degree, she uses it in service of her family. She’s shrewd  and disarmingly warm at the same time. She likes to be in control and she’s not one to cross.

Solomon "Junior" Jasper, son of Sonny and Claudia Jasper, embodies both his parents' strengths. A former congressman, he has recently been released from prison after serving time for using campaign funds for his personal use.   Despite his challenges, he stays positive and believes in himself. He blames his troubles on his recently diagnosed mental health issue. He craves attention and shows signs of narcissism, but his charisma makes it easy to overlook.

Morgan Jasper is the wife of Solomon Jr.  When we meet her she is soon to enter prison to serve her time for tax fraud. She was caught up in her husband’s financial improprieties. Since they have  children Morgan and Junior cannot serve their prison time at the same time.  She is more bitter than a slice of lemon in a jar of three-day old Kool-Aid. She feels she is taking the fall for her husband and by default his family. She warns anyone within earshot to be wary of The Jaspers. She denies them the company of their grandchildren, knowing this drives Claudia to distraction.

Nazareth “Naz” Jasper is the youngest son of Solomon and Claudia. He is an introvert in a family of extroverts, in essence, the weird one. He photographs nature scenes for a living and enjoys his solitude. He dropped out of divinity school much to the chagrin of his father who wanted him to follow in his footsteps and become a pastor. He’s possibly on the spectrum (aren’t we all) and asexual. He’s also our narrator, giving us valuable insights into the Family Jasper.

Aziza Houston, an independent self-sufficient woman, is the friend of Nazareth Jasper. She walks into this situation blind. She is shocked Naz, is the son of the civil rights icon. She is elated to be in the company of the Jaspers until she is truly in the company of the Jaspers.

Director Phylicia Rashad effectively maintains the motivation and focus of her cast throughout the production, fostering a sense of familial unity among the actors, which I find particularly appealing in collaborative efforts. The casting couldn't have been more apt, with each actor perfectly suited to their respective roles.

Jon Michael Hill embodies the charm of Naz, evoking empathy as the outlier within his family. Whenever he steps into the spotlight, anticipation mounts for the forthcoming revelations, delivered with a blend of wit and sincerity. Glenn Davis delivers his best performance yet as Solomon Jr., infusing the character with a delightful humor that effortlessly captivates the audience. Alana Arenas mesmerizes with her portrayal of Morgan, conveying volumes with just a single glance. Her entrance into the dining room is etched into memory, portraying a woman whose words cut like a dagger.  Ayanna Bria Bakari navigates the complexities of Aziza's character with finesse, charting a compelling arc from excitement to dread as she becomes entangled with The Jaspers. Harry Lennox brings a dignified presence to the role of patriarch Solomon Jasper, embodying the essence of strength and authority. Tamara Tunie shines as the family matriarch, Claudine Jasper, striking the perfect balance between assertiveness and subtlety in her delivery, effectively communicating her message without overpowering force.

Todd Rosenthal's set design is teeming with intricate detail, evoking the sensation of a hive with its distinct compartments—a captivating and thought-provoking choice. Amith Chandrashaker's realistic lighting design further accentuated the set, seamlessly integrating even the more fantastical elements such as the special spotlight on Naz, lending them an air of naturalness. Dede Ayite's costume design elevated the character portrayals, skillfully complementing them without ever overshadowing the performances.

While the playwright never explicitly mentions the name, it's difficult to miss the parallels to the Jackson family……..Jesse,  not Michael. Brandon Jacobs-Jenkins is known for tackling controversial themes, prompting the question: would a white playwright be afforded the same latitude in crafting such an interesting narrative?   Discuss!

“Purpose” is a cautionary tale.  Imagine we are all worker bees in a giant hive called life.  Each bee has a specific role within the hive, whether it's building comb, collecting nectar, or caring for the young. These roles contribute to the greater good of the hive's survival and success.  Just like bees, we all have a unique purpose within the larger ecosystem of life.  Our purpose may not always be readily apparent,  but it's there and only we can live our purpose.

“Purpose” is arguably the best play I’ve seen at Steppenwolf Theatre. It’s going to be the best play seen on Broadway.

Highly Recommended

When: Through April 28

Where: Steppenwolf Theatre, 1650 N. Halsted St.

Running time: 3 hours

Tickets: $52-$116 at 312-335-1650 and www.steppenwolf.org

*Extended through May 12th

Black music in the 1980’s was transformative. It was the decade where Black music exploded in diversity and influence. It broke down racial barriers in popular music, with Black artists topping the charts and influencing artists across genres. Black music embraced new music technology; pioneering techniques used in popular music today. It provided a powerful platform for social commentary, giving voice to Black experiences in America.

Writer-Director Daryl D. Brooks takes us back to the 1980’s with his time machine, if you plan on taking the trip, pack your dancing shoes and be ready to party “all night long”.

The premise is simple, Derrick Taylor (an entertaining Brandon Lewis) a High School senior must do a research project on music of the 1980’s. He knows absolutely nothing about the 1980’s or its music. He solicits the help of his eccentric inventor Uncle Mike (the always excellent Thee Ricky Harris) who just happens to have been working on a time machine, and what a time machine it is.

Dominating the stage is a boombox perched atop a turntable. This colossal creation by Set Designer Denise Karczewski instantly transports us to the vibrant 1980s, a decade synonymous with bold statements and larger-than-life living. It evokes the era of Flava Flav's iconic clock necklace, where oversized accessories and shoulder-padded garments ruled the fashion scene.

Britt Edwards in The Time Machine: A Tribute to the 80’s

This set design isn't just a visual spectacle; it's a subtle commentary on the era's emphasis on conspicuous consumption. The sheer size of the boombox hints at a time when material possessions played a significant role in expressing success and individuality.

The music in Act 1 reflects the diverse sounds of the 1980s, including funk, soul, and hip-hop.

It features artists like Lisa Lisa & Cult Jam, Soul to Soul, Prince, Sheila E, Morris Day & The Time, Keith Sweat, and New Edition. Act 2 opens with movie theme songs, which were popular in the 1980s. It also introduces rap music, which was beginning to gain popularity at the time. The music also features slow jams and artists like Al B. Sure, DeBarge, Sade, Force MDs,  Whitney Houston, and Michael Jackson.

This exceptionally cast show boasts several unforgettable performances:

Jaitee delivers a captivating triple threat, embodying Bobby Brown, Keith Sweat, and even Run with remarkable ease. Micah Alyce stuns as both Lisa Lisa and Irene Cara, showcasing her versatility.

Vincent Jordan commands the stage as Morris Day, LL Cool J, and Al B. Sure, proving his acting range.

Jared Brown shines as Prince, effortlessly transitioning to El DeBarge and Ricky Bell. The dynamic duo of Britt Edwards and Vu brings Denise Williams, Whitney Houston, and Salt-N-Pepa to life, showcasing their vocal and dance talents. Issac Ray energizes the stage as Kurtis Blow, while Ben Izlar Jr. delivers a vocally stunning performance as Johnny Gill. Isaiah Engram brings power and charisma to Rob Base and Ronnie Devoe, and Miciah Lathan flawlessly embodies both Queen Latifah and Chaka Khan. Ama Kuwonu's graceful portrayal of Sade adds another layer of brilliance to the production.

My one criticism, I would have liked Madonna to have been more prominent in this production. She was the embodiment of 80s culture. You couldn’t go to a club in New York without seeing her or hearing her music.

Fueling this musical time machine is the masterful Music Director, Robert Reddrick. With his keen ear and dedication, he has meticulously recreated the authentic sounds of the featured songs of the 1980s’. Joining him on this sonic journey is a stellar band, bringing the music to life with their expertise. Adam Sherrod weaves his magic on the keyboard. Eric Troy, Sr. adds rich textures to the organ.

Myron Cherry keeps the beat solid on drums. Oscar Brown, Jr electrifies the guitar and Walter Harrington anchors the sound with the bass. Together, this talented team forms the engine that propels the audience through a musical journey across time.

Christopher Chase Carter’s choreography was sharp and tight. The moves were complicated and very well executed. He obviously researched the era and the dance styles.  It paid off well, the choreography was beautiful.

Marquecia Jordan's costumes reflected the 1980's aesthetic, with a heavy use of sequins, the colors were bold, and they were accessorized according to the era. Big Chains, Big Earrings…. Loud!

Black artists' success challenged the status quo, their innovative sounds became the new mainstream, and their powerful messages resonated with a global audience. The 1980s became a decade where Black music wasn't just popular, it was transformative.

The Time Machine: A Tribute to the 80’s is more than just a musical revue; it's a time capsule capturing the raw energy, cultural impact, and enduring legacy of 80s music."

Highly Recommended

When: Through April 14, 2024

Where: 4450 N. Clark

Running time: 2 hours, 30 minutes

Tickets: $56.50 - $66.50  Info at www.blackensemble.org.

The Groundhog Day musical debacle left me wary of movie-to-stage adaptations. I saw them as cash grabs, mere shadows of the beloved originals. So, I approached Mrs. Doubtfire with trepidation, fearing another corny, uninspired musical. Thankfully, Mrs. Doubtfire surprised me. It wasn't just enjoyable, but the refreshingly unapologetic old-fashioned style of musical theater was a welcome change.

In case you’re unfamiliar with the source material, Mrs. Doubtfire is based on the 1993 movie of the same name. It starred the late incomparable Robin Williams and Americas sweetheart Sally Fields, and yes, we really do love her. The musical faithfully captures the heart of the movie, while incorporating essential modernizations. The plot is straight forward, Daniel Hillard a fun-loving vocal actor, devoted father to his three children is having marital problems. His free-spirited personality and impulsive behavior often clash with his workaholic wife, Miranda. Their differences culminate in a divorce. Daniel loses custody of his children although he gets limited visitation rights. Meanwhile, as Miranda’s work as a gym-wear executive requires more of her time, she now requires a Nanny. The process of interviewing potentials is comedy driven, as is so much of what unfolds in this 2-1/2-hour show.

After securing an interview with Miranda, Daniel sets out to become the nanny. He visits his gay brother Frank and his equally gay brother-in-law Andre. Both are in the costume design business. The first production number of this show (Make Me a Woman) sets the bar extremely high for future production numbers. Frank and Andre give Daniel several options to choose from. They start out with glamorous ‘Jackie’, ‘Diana’, ‘Cher’ and ‘Donna Summer’ until they realize ‘Eleanor Roosevelt’, ‘Julia Childs’, ‘Margaret Thatcher’, ‘Janet Reno’ and ‘Oscar Wilde’(strange, but it works) is closer to the nanny Daniel is going for. Daniel becomes Mrs. Doubtfire right before our eyes.

The production updated the material by using modern devices to its benefit. In ‘Easy Peasy’ Mrs. Doubtfire uses Alexa to find recipes and suddenly chefs pop out of every corner of the kitchen to help create a chicken recipe, even Julia Child and Paula Deen, with extra butter, make an appearance.

‘Playing With Fire’ is a fever dream of Daniel where he questions everything he has done thus far and involves the entire company. It is a big production with excellent choreography bringing the whole company together.

The heart of this production is Rob McClure, a theatrical force seamlessly transitioning between Daniel and Doubtfire, McClure is giving a career defining performance that would surely make Robin Williams proud. The lovely Maggie Lakis as Miranda and their on-stage children Giselle Gutierrez as Lydia (what a voice), Cody Braverman as Christopher, and Kennedy Pitney as Natalie make up the Hillard family. 

The supporting cast includes Aaron Kaburick (hilarious as Frank), Nik Alexander (a dramatic Andre), Leo Roberts (a powerfully built Stuart Dunmire) and Jodi Kimura as stoic station manager Janet Lundy.

In the wrong hands this production would be a mess, in the hands of four-time Tony Award winner, Jerry Zaks it becomes gold. His illustrious career boasts triumphs like "Guys and Dolls," "Six Degrees of Separation." and “La Cage Aux Folles”.  His keen eye for talent, comedic timing, and the ability to draw out the best in his actors have cemented his place as a Broadway icon.

This heartwarming and delightful musical is a pure joyride. Unlike some shows with hidden agendas, its sole purpose is to make you laugh out loud. While it's a charmingly old-fashioned family-oriented production focused on pure entertainment, the underlying message is clear: love conquers all, family is everything.

When: Through March 10

Where: James M. Nederlander Theatre, 24 W. Randolph St.

Running time: 2 hours, 25 minutes

Tickets: $44-$116 at www.broadwayinchicago.com

Court Theatre culminates its "Oedipus Trilogy" with a captivating production of "Antigone," marking an exhilarating conclusion. For those who witnessed the illuminating "Oedipus Rex" and the soulfully performed "Gospel at Colonus," the profound experience of "Antigone" brings a bittersweet moment of reflection. A fitting finale to the house of Oedipus.

Director Gabrielle Randle-Bent brilliantly implores us to consider another woman who defied unjust authority despite the potential consequences. The action starts with a recording of women discussing someone (Rosa Parks?) who refused to give up her seat on public transportation in the south. It sets the mood for the arguments we will hear.

The action starts after the death of Eteocles and Polyneices. Their uncle, now King, Creon (stoically played by Timothy Edward Kane) has decreed while Eteocles shall be buried a hero, anyone who buries Polyneices’s body will be put to death. He feels to bury Polyneices, a traitor, would be an afront to the Gods, Creon wants to solidify his power and assert his absolute authority and demonstrate his unwavering rule.

Antigone (the wonderful Aeriel Williams) feels it is her duty to her family and to the Gods to give her brother a proper burial regardless of what he may have done. This is the classic argument of divine authority over earthly jurisdiction, separation of church and state. Creon's decree forbidding Polyneices' burial directly contradicts divine laws. By burying him, Antigone asserts religious obligations over human-made laws, challenging Creon's authority and upholding the divine order.

Antigone shares her grief and her plans to bury her brother with her sister Ismene (Ariana Burks is sublime). Sharing her burden with her sister allows Antigone to express her grief, anger, and determination. Ismene's understanding and possible support could validate her decision and provide emotional strength.

The two-person chorus of Demophilos (Danielle David) and Euboule (Cage Sebastian Pierre) serves as the pulse of the community. They provide essential background information; they offer social and moral commentary. Speaking directly into microphones, they created a charged atmosphere that amplified the power of their voices. They used facial expressions, call and response and movement to bring their words to life, connecting, us, the audience, to the text on an emotional level unheard of in classical Greek plays.

Haimon's (Matthew C. Yee) tragic suicide serves as an indictment of Creon's relentless inflexibility, highlighting the devastating consequences of his flawed choices.

Julian Parker provided important information as well as lighthearted laughs as the Watchmen who becomes Messenger. I’ve been following his career for some time, and he’s only gotten better.

Cheryl Lynn Bruce as the Blind Prophetess, Tiresias was the embodiment of truth and wisdom. Warning of the potential dangers of pride and hubris, she gave an air of unquestioned authority.

The costume design by Raquel Adorno ran the gamut from Creon’s money green suit to the mud-cloth inspired ensemble worn by The Watchmen who becomes messenger. Antigone silver studded blouse was in stark contrast to Ismene muted soft colors. The costumes were a feast for the eyes.

Even in the face of dire consequences. Antigone's willingness to sacrifice her life underscores the importance of honoring family and divine obligations above all else. Her death serves as a powerful testament to the strength of individual conviction and the consequences of challenging authority. Additionally, Antigone's martyrdom solidifies her legacy as a symbol of resistance against tyranny and a defender of moral righteousness.

No, I’m not giving up this seat! No, My brother will not rot in the sun!

When: To March 2
Where: Court Theatre, 5535 S. Ellis Ave.
Tickets: $40-$70
Info: courtheatre.org
Running time: 1 hours and 35 minutes with no intermission