It’s the top of Act IV, and King Harry (Elijah Jones) stands alone on stage. The lights are dim – save for a spotlight, leaving the surrounding empty benches in shadow. His soldiers have all exited, each more excited than the one before him as they run off to battle against the French. Harry is left with nothing but his thoughts. With a long, deep breath, he takes a moment to pray. As he kneels down in the darkness, he whispers:

“O God of battles! steel my soldiers' hearts;
Possess them not with fear; take from them now
The sense of reckoning, if the opposed numbers
Pluck their hearts from them.”

 Up until this point, we have witnessed countless speeches from Harry. At every turn, he is ready to inspire his soldiers – his friends as he calls them, preparing them with the hope they require to go fight on his behalf. However, in this moment, we see something different. As Jones stands alone, we see a new physicality take form – one filled with vulnerability and fear. You might find that in this moment, like for me, the story shifts. Harry has carried an impressive, heroic air throughout. However, in this scene, he finally feels human. The language felt so heightened but suddenly, there’s something a little more relatable. He finally has something to lose. If you’re anything like myself, you might feel yourself leaning in - almost worried to see what danger befalls him with what is to come.

Directed by Artistic Director Edward Hall, William Shakespeare’s history play follows King Henry V, or Harry, (Elijah Jones), as he leads his army to invade France. Full of some of Shakespeare’s most famous speeches, the play explores what makes a king, as well as what obstacles might stand in the way – even if they are brought on by the individual himself. Hall’s talented ensemble brings this theme to life as we watch them bond and grow over the course of the story. In contrast to France, Harry’s army is meant to have everything standing against them – from experience to literal numbers. However, Harry’s ability to inspire carves a path forward, and we see how a natural gift like language can help a king survive.

As much as Shakespeare’s play can be one of hope, there is also a darker side as we see the ramifications of the seduction of war – one that Hall and Music Director Jon Trenchard cleverly highlight through live music.  

The play itself carries a highly serious tone. The lighting overall is quite dark, with a muted set as we settle into England’s army base (filled with impressive detail from Scenic Designer Michael Pavelka that consumes Chicago Shakespeare’s Yard Theater). Sound Designer Emily Hayman does not hold back with the war scenes – successfully immersing the audience in the fear surrounding the soldiers on stage. Particularly with the heightened language of Shakespeare’s text, the production feels as if it will be clouded in death and all that comes with it.

Then, in a key moment, the notes of The Clash’s “London Calling” starts to play. The musicians on stage come forward as Lighting Designer Marcus Doshi fills the stage with flashes of pink and red. The soldiers – all quite solemn to this point, begin to jump and dance as they yell the lyrics with the musicians. The vibe quickly shifts to one of a rock concert. Looking around at the guests surrounding me for this Opening Night performance, it was clear the audience was just as excited – especially as they danced along in their seats. This was only the first of many musical interludes, and each was met with more excitement than the last.

Henry V can be quite heavy. The story of a young king forced to grow up too quickly as he rounds up his soldiers to fight on his behalf is not easy. While poetic, Shakespeare’s series of extended monologues could make this history a tougher one for folks who are less used to his work. However, with the incorporation of the music and tonal shifts, Hall and his team do their part to ease in the audience. You might find that breaking up the text in this way allows you to catch your breath, recalibrate, and prepare yourself for the next stage of the journey.

Impeccable design and cleverly crafted, Henry V makes for an accessible entry point to Shakespeare’s histories. Hall is still new to his position, but he is certainly one to keep an eye out for.

Henry V runs through October 6 at Chicago Shakespeare Theater – 800 E Grand Avenue. Check out Chicago Shakespeare Theater’s website for tickets and information. 

RECOMMENDED

It’s dark on the Neverland ship, and Molly, Prentis, Ted, and Boy are hiding in a corner – waiting for the coast to clear. As they huddle and watch, the four begin talking about dreams. All have experienced their fair share of hardships, but for the briefest moment, they look to a world of what could be.

Boy has been fairly quiet to this point – only following Molly with the promise of better food. However, at this discussion, he perks up, and whispers his dream aloud:

“The world will be so beautiful that no one will ever have to say sorry again.”

Many of us know the story of Peter Pan. The story of a boy who never wanted to grow up. All he wants is to fly around Neverland with the Lost Boys – fighting Pirates and finding adventure after adventure. The heart of the story is full of magic, and all the wonderful possibilities that come with a youthful energy and imagination.

Being a prequel to the famous tale (and based on the novel by Dave Barry and Ridley Pearson), Peter and the Starcatcher carries much of the same wonder. As Boy whispers his dream to the audience, you might find yourself reminded of that original story. Perhaps if you, like myself, grew up a fan of Peter Pan, you will even find yourself smiling and leaning in upon hearing the sweet innocence of the fantasy. Even in a moment where everything feels dark and uncertain, Boy, dares to dream – exploring a childlike wonder that so many eventually lose, but to which can be so fun to return.

Peter and the Starcatcher follows Boy (or later named Peter – played by Terry Bell), who is held captive on the Neverland ship with two fellow orphans - Prentis (Michaela Shaprio) and Ted (Brandon Acosta). When they meet Stardust Apprentice Molly (Shelbi Voss), their whole world is turned upside down. A quest for better food turns into an unexpected adventure when Pirates come on board – attempting to steal back a trunk full of precious stardust, which Molly and her father are sworn to protect. Drawn to Molly’s heroism, Boy takes it upon himself to protect this stardust at all costs – even if it means going toe to toe with Pirates and a terrifying ocean.

Directed by Nate Cohen, Paramount Theatre’s intimate production is intensely theatrical. Rick Elice’s play carries a storybook charm, with various forms of narration throughout and actors playing multiple roles depending on the needs of the moment. Sometimes actors step out of the action to narrate the next event, while other characters have moments of speaking in third person. Cohen and his team lean into the storybook feel – particularly in the collaboration between Scenic Designer Myra G Reavis and Props Designer Ivy Treccani.  The set is minimalistic, and primarily comprised of various objects one might find in a theater. Ladders, stools, sheets, and chairs are utilized in multiple ways to represent various locations – all moved by the actors themselves. The effect? The audience is witnessing the story unfold and reconfigure in front of them with each scene, creating the feel of being inside the storybook alongside the characters. We are invited to use our imagination alongside the performers to fill in the dots, and with the intimate feel of Paramount’s Copley Theatre space, you might find that this adds to the experience.

As many of us know, Peter Pan is full of magic, and Peter and the Starcatcher is much the same. Lighting Designer Jackie Fox utilizes gold fairy lights to create the illusion of stardust – creating stunning stage pictures throughout the production.

One such moment occurs towards the end of the first act. Boy asks Molly for proof of what stardust can do. If he is going to risk his life to save it, then he may as well know why. Begrudgingly, Molly takes out her stardust, and whispers the following:

“To have faith is to have wings.”

From there, the surrounding lights dim and the specks of gold brighten. Molly is lifted above by actors, and as we see her spread her arms, Boy looks up in pure awe. Voss and Bell play the moment wonderfully – particularly as Voss’ Molly enjoys the feel of proving Bell wrong when he doubts her abilities. Most impressive though, at least personally, is the way in which Cohen stages the magic. As we see Molly lifted above by her ensemble, we too are invited to use our imagination - to have faith.  From there, Cohen once again invites the audience to return to their own childhoods and enjoy the magic of storytelling and believing in the impossible.

Full of stunning performances and remarkable stage magic, Peter and the Starcatcher will leave you on the edge of your seat – eager for what’s next and wishing there was more beyond the final lights down.

Peter and the Starcatcher runs at Paramount Theatre’s Copley Theatre – 8 E Galena Blvd in Aurora  through September 1, 2024. See the Paramount Theatre Website for tickets and information.

HIGHLY RECOMMENDED

Keith (Debo Balogun) and Ryan (Nate Faust) sit in their rolling chairs in the middle of Keith’s office. The lighting is highly florescent, and the two are discussing Ryan’s current status and ability to convince a bank to give him a loan. Tension is high, and with Ryan’s desperation only increasing, Keith is doing everything in his power to help him out. We have been watching the duo become closer over the last many scenes, and at this point in time, you may feel yourself leaning in – nervous for Ryan’s fate and just hoping the two friends can figure out a path forward.

Then the lights shift. The stage becomes brighter, birds start to chirp, and the two bring their rolling chairs downstage so they are sitting directly next to each other. No longer are we in Keith’s office. The rolling chairs now represent a bench in a park, and the two single fathers are watching their kids play together. Through their commentary, it’s clear that the kids are becoming closer, and learning to share as they move through the various slides and playground equipment. Somewhere in mid-conversation, we hear Keith gasp as he grabs his phone. Their toddlers are holding hands, and the fathers simply have to capture the moment before it’s too late. As the two giggle on stage, I could hear the audience surrounding me share in the joy – laughing and appreciating the sweet humor.

Sam Hunter’s play is about a lot of things. The ups and downs of fatherhood. The challenges of bureaucracy. The difficulty of building a better life for yourself when everything seems to be stacked against you. But at the heart, this is a story about a friendship that forms between two strangers – two men who not only share the status of fatherhood, but also a certain sadness from their lived experience. As you witness Hunter’s cleverly-written story, you might just find that the journey is at times gut-wrenching, but also full of hope – a balance that keeps you intrigued and eagerly awaiting more.

Written by Sam Hunter, A Case for the Existence of God follows the story of Keith and Ryan. The two men come together on the day that Ryan arrives at Ken’s office door for help obtaining a loan. While the relationship begins with some tension, the barriers start to come down at the realization that both have a young daughter back home. From there, a friendship forms, and we witness the slow building of trust as they learn how to better support each other through both the financial and parental challenges that follow.

Directed by Robin Witt, the play is fast paced. The piece may only be 90 minutes, but once this train of a play starts, there is simply no stopping it until the lights come down at the end. Witt’s artistic team aids in that endeavor – particularly through the work of Scenic Designer Sotirios Livaditis. The stage is entirely consumed by Keith’s small office – a space that leaves little space for movement. The intimate feel of the Edge off Broadway thrusts the audience right into the action – forcing us all into this tiny office that represents multiple locations as the two characters start to uncover each other’s secrets. The ending result? For better or for worse, we are on this roller coaster with the characters – and personally, I feel that helps make the journey.

Hunter’s play is a two-hander, and considering the actors never leave the stage, the chemistry between the two actors feels essential. Balogun and Faust rise to the challenge. If you’re like this writer, then you have also perhaps caught these Steep ensemble members in many productions over the years. Always talented, but these roles in particular shine. In collaboration with Witt’s direction, the performances are gripping, and with every twist and turn, I personally found it impossible to look away.

With standout performances, a smart production, and a story that tugs at the heartstrings, this is one you do not want to miss. Steep does not disappoint and from the looks of the standing ovation surrounding me at the end of this particular performance, I was not alone in my opinion.

HIGHLY RECOMMENDED

A Case for the Existence of God runs through September 7 at the Edge of Broadway – 1133 W Catalpa Avenue.

When life’s chaos is full of impossible choices, how are we possibly meant to move forward?

Brooklyn Laundry is about a lot of things. There’s love. There’s heartbreak. There’s family, and there’s grief. However, at its center, you might find that the play boils down to the central question above. Playwright John Patrick Shanley may not offer the answer, but he certainly invites a conversation.

Brooklyn Laundry follows Fran (Cassidy Slaughter-Mason) - a young woman who meets business owner Owen (Mark Montgomery) upon dropping off her laundry at his dry cleaners. By chance they meet, and Owen ask her out for dinner. Fran is touched, and ultimately says yes. However, life is rarely as it seems, and Fran is navigating far more than a recent breakup. With one sister, Trish (Marika Mashburn), suffering from cancer and her other sister, Susie (Sandra Delgado), battling her own health challenges, Fran finds herself drowning in the middle – unsure of how to proceed.

Directed by Northlight Artistic Director BJ Jones, the production features a stellar ensemble as a whole. Mashburn and Delgado may only have one scene each, but the emotional depth they bring into these moments is enough to make them stand out. Delgado in particular gives a heartbreaking performance as Susie and certainly does not hold back. The character’s high-strung tendencies are likely to feel relatable to the older siblings in the audience, as well as the devastating blow when we see her pushed too far, and the true feelings beneath simply have to bubble over.  

Slaughter-Mason and Montgomery fill the blooming relationship at the center of the story with charm and if you’re anything like this writer, you may find yourself leaning in – hoping they succeed.

Fran and Owen’s first date is full of that awkward energy that so many audience members will recognize. From the moment that Fran walks into the restaurant, it’s clear that nothing will quite go as expected. At the surprising realization that she is completely high, Owen offers to take some of the drugs alongside her to even the playing field. As the effects settle in, the two embark on a conversation around intimacy that completely changes the tone around the evening.

The stage is empty except for the couple, allowing us as an audience to fully absorb the moment. Slaughter-Mason and Montgomery fill this scene with empathy and relatability. Laughter and gasps from the Opening Night audience filled the theater at the beginning of the date; however, as the scene moved along, pure silence took over. The shift in mood made it clear that this writer was not alone in her feeling that Slaughter-Mason and Montgomery certainly knew how to win over the crowd.

Shanley’s script is fast-paced and strong. Fran’s journey as a whole is far from easy, and Shanley smartly includes a mix of fun, light-hearted romantic scenes to break up the larger, heavier trajectory of the character’s arc. If anything, you might find that the script is too short. This 80-minute play is packed from beginning to end, and I personally found myself surprised when the lights came down at the end.

Stand-out performances and a gut-wrenching (yet at times comedic) story make Brooklyn Laundry an emotional roller coaster from start to finish. Modern-day romances rarely follow the path of a romantic comedy, and Shanley offers a window into the nuances that can hopefully lead to something stronger on the other side.

RECOMMENDED

Brooklyn Laundry runs through May 12, 2024 at Northlight Theatre - 9501 Skokie Boulevard.

The Player (Lorenze Rush Jr) has just run into Rosencrantz and Guildenstern with his troupe of players. As he explains how the players operate, he announces:

“Every exit is an entrance someplace else.”

As soon as he recites the line, his troupe jumps into action. They move with quickness as they prepare the stage to put on a show for Rosencrantz and Guildenstern – the willing audience they happened to run into on their travels. The line offers an opportunity to perform, and they are excited to take it. The ensemble is strong – particularly in their physical comedy, and they heighten the moment with ease.

On another level, The Player’s line offers the perfect backdrop for the play. Rosencrantz and Guildenstern find themselves at the top of the show unable to remember anything – including where they are or why. As the play moves forward, the anxiety only increases, and it’s clear that the Player’s line rings true. Every turn of events offers another possibility, and it’s unclear where the duo’s story will end.  

(left to right) Lorenzo Rush, Jr., Rob Lindley, Nate Burger, Erik Hellman.

Written by Tom Stoppard, the play follows Rosencrantz (Nate Burger) and Guildenstern (Erik Hellman) – the famous duo from William Shakespeare’s Hamlet. We catch a glimpse into what the two friends were navigating in the midst of Hamlet’s crisis – before, after, and during their visit with the Danish prince. As they battle questions of identity, loss, and fate, they meet the Players – the very same troupe that puts on the play in Shakespeare’s tragedy, exposing King Claudius as the murderer of Hamlet’s father. As Rosencrantz and Guildenstern struggle to put the pieces of their story together, they start to get at the root of what it even means to be alive. Burger and Hellman drive the play with spot-on comedic timing, as well as a chemistry that is exciting (and at times heartbreaking) to watch unfold.

Directed skillfully by Charles Newell, the production is fast-paced, and offers a deconstructed adaptation of Stoppard’s piece. If you are anything like this writer and familiar with Stoppard’s play, you may find the approach almost shocking at first. The adaptation is certainly different, and much is cut away to allow this more nuanced view of Rosencrantz and Guildenstern’s journey. However, upon finding your bearings, you may also discover that the approach immediately thrusts the audience into the chaos of what the duo is feeling as they navigate their story. As the piece quickly jumps through space and time, you may find that the approach almost creates an immersive experience for all witnessing.

Newell’s artistic team leans into the theatricality of the play – particularly in the scenic and lighting design. Scenic Designer John Culbert takes advantage of the vast openness of the stage itself. The furniture primarily includes benches that move about as needed, and the emptiness allows full view of the back wall that clearly states, “Court Theatre.” The story focuses heavily on the group of players, and exposing the stage in this way allows that meta story element to fully take form. Lighting Designer Keith Parham utilizes shadows, playing into the eerie, almost frightening themes of the play – especially those that offer questions around death and existence. 

You might find that the striking design allows for the surprises of the script to hit even harder – starting with the entrance of the players. At the beginning of the play, we meet Rosencrantz and Guildenstern almost at the foot of the stage – with a big red curtain draped behind them. As they start to hear whispers of others in the space, we see large shadows take form on the curtain. The darkness aids in this moment, and we can feel the duo’s fear as they search around, wondering what might attack them. Then, all of a sudden, the red curtain drops to the ground with a bang – shocking the audience with the reveal of the Players backlit in silhouettes. The gesture at this particular performance was met with a mix of gasps and applause as folks overcame the shock and absorbed the staging before them.

Stoppard’s play has been around since 1966, but you might find that Charles Newell brings a fresh take that even leaves long-time fans wondering what twist or turn may happen next. Along with a standout cast and stunning design, Court Theatre’s Rosencrantz and Guildenstern are Dead is one to remember.

RECOMMENDED

Running through April 28, 2024 at Court Theatre – 5535 S. Ellis Avenue.

“May God bless and keep you always
May your wishes all come true
May you always do for others
And let others do for you
May you build a ladder to the stars
And climb on every rung
May you stay forever young
May you stay forever young”

For many, if they are unfamiliar with the music of Bob Dylan, they have at least heard the one. As the opening cords of “Forever Young” start to play, Elizabeth (Jennifer Blood) takes center stage. She sits on the bench and sings – backlit by a screen of light blue. Aside from her husband, Nick (John Schiappa), who sits frozen by her side – the stage is empty. The room is silent save for her stunning vibrato. We are left with nothing but her and the lyrics on which to focus, allowing us to join in her somber, reflective journey.  

Juke-box musicals can often run into challenges. In trying to fit an entire score of pre-made material, it can become tough to craft a story that flows and feels authentic. Girl from the North Country is a Bob Dylan juke-box musical, and you may just find that the creators found the perfect balance of storytelling to match his folk/rock genre.

Written and directed by Conor McPherson, Girl from the North Country centers on a group of wayward travelers in Duluth, Minnesota in 1934. When these characters meet at Nick’s old guesthouse, we catch glimpses into their lives – past relationships, hopes for the future, and all of the regrets leading them to this moment. Much of McPherson’s musical is told in a vignette style – moments in which we see these characters briefly interact before moving on to their rooms for the evening. Scenic and Costume Designer Rae Smith heightens the theatricality with her design. Rather than featuring a full house on stage, we see the structure in segments – with walls dropping in various places as a way to highlight the characters’ interactions before moving to a different space in the house. 

The musical showcases a list of famous songs by Bob Dylan including “Forever Young,” “All Along the Watch Tower,” “Hurricane,” and “Like a Rolling Stone.” With the story moving so quickly, Dylan’s slower musical style allows the audience to catch up as the songs unfold – giving us just enough pause to catch a window into the characters’ true feelings before speeding back up again. This especially rings true in the more heartbreaking, romantic storylines of the show.

“Tight Connection to my Heart (Has Anybody Seen My Love)” appears early in Act One and features Marianne Laine (Sharaé Moultrie) – the adopted daughter of the innkeeper. We learn that she is pregnant but refuses to let anyone know the identity of the father – including her parents. As we see her break away after guest after guest pushes for that answer, the music starts to play. The lights shift. Moultrie is backlit by a bright green screen as she begins to sing – creating a haunting presence as her powerful belt rings throughout the theater. After seeing so many characters move in and out of the space, you may find that Marianne’s isolation on stage almost feels like a shock, but also offers a much-needed moment of backstory before quickly moving on to the next.

A moving story and jaw-dropping vocalists alone make Girl from the North Country a night to remember Conor McPherson and his artistic team celebrate Bob Dylan’s music in a way that I can only imagine is exciting for long-time fans to experience first-hand.

RECOMMENDED

Running through February 25, 2024 at the CIBC Theatre – 18 Monroe Street.

Why do we learn about history?

This question has been asked for ages and is often met with the response: So that history does not repeat itself. When it comes to plays about history, that question is often met with some version of the same answer. We witness historical events in a live, theatrical setting so that among other things, we can learn to do better.

Playwright Anna Deavere Smith invites us to consider that question, but adds another layer: How are we meant to learn about our mistakes in history if we do not first get to know the people involved? As with many of her other plays, Notes from the Field is documentary theatre, and comprised of verbatim dialogue pulled from more than 250 accounts from students, faculty, prisoners, activists, politicians, and victims’ families. Smith conducted these interviews during President Barack Obama’s term, and while this may not quite be present day, the subject matter is certainly contemporary. Over the course of the play, we meet 19 individuals – all fighting to overcome and change America’s educational and criminal justice systems – especially with the tendency to focus on incarceration.

The catch? This play does not feature 19 actors, but rather three women – Mildred Marie Langford, Shariba Rivers, and Adhana Reid. Skillfully directed by Mikael Burke, the transitions between characters feel seamless, and every individual whom one of these actors embodies feels distinct and specific. While Smith brings humor into the script, many of the stories reveal heartbreaking memories, and the three actors fill each of these moments with an authentic balance of compassion and anger.

And so, we return to this question: How are we meant to learn about our mistakes in history if we do not first get to know the people involved?

One of the many individuals whom Langford embodied in this performance was Denise Dodson, an inmate who detailed what she learned from prison. Scenic Designer Eleanor Kahn has left the space fairly minimal – allowing the text to do its work as we hear each individual’s story. Langford is alone on a chair, and Lighting Designer Eric Watkins fills the space with just enough light to cast a large shadow behind her. Nothing is hidden as Dodson reflects with the audience on how education could have given her (and many young people like her) a different path. She explains:

“They have to see’em as people. They have to see them as the future. They have to see them as people who are gonna go out and be their next-door neighbors… ‘Cause they’re… at that stage where they absorb everything. And if they not absorbing all the right things, then… yeah. That’s… barbaric.”

Smith creates an opportunity for us as an audience to learn from a first-hand account how this country’s system has failed so many young people. We have created a system that forces them to so many to see themselves in a specific way. Langford’s matter-of-fact approach to the material is at times hard to hear. However, based on the silence surrounding me at this performance, it’s clear that I was not the only one hooked on every word, listening to this personal story unfold.

Dodson shares a warning. A desire for us as a country to offer stronger support for young people so we can change this school-to-prison pipeline. In the process, you may also notice that Smith is succeeding at something else. It’s one thing to write a story about incarceration and the failings of the education system. It’s another to look a human in the eye and hear their story – their personal account of how their life could have been different, a plea that we listen. Smith’s approach brings light to 19 of these accounts that may never have been heard otherwise – of “broken people’ as she puts it in her play. You may just find that this hits a little different. That Smith invites empathy in a different way. Maybe this approach can lead to the change that we as a country so desperately need.

Powerful performances and a hard-hitting script make this play an experience to remember. To put it simply, Notes from the Field is a must-see.

HIGHLY RECOMMENDED

Running through March 24, 2024 at Timeline Theatre – 615 W. Wellington Avenue.

To those familiar with Cole Porter’s 1930s musical, you may recognize the opening notes as the live orchestra begins to play the title number. Reno Sweeney (played with dazzle by Meghan Murphy) bounds on stage, and the Opening Night crowd erupts in cheers. Sweeney takes in the applause and adoration as she starts to sing:

“Times have changed
And we’ve often rewound the clock.
Since the puritans got a shock.
When they landed on Plymouth Rock.”

As Murphy’s belt swells and rings through the theater, this audience only cheered harder. This is the 11 o’clock number, and the artistic team does not disappoint. As the ensemble joins Murphy on stage, Choreographer Tammy Mader pulls all the stops. Tappers, ballroom dance, and everything in between. Lighting Designer G. “Max” Maxin IV fills the space with color that is only heightened by the exquisite costume design full of sparkle. Looking around at the audience, it was clear that I was not the only one bouncing along in my seat. Before Murphy even hits the final lyrics, the crowd was on their feet, eager to reward this show-stopping number with everything that they had.

Directed by Michael Weber, Anything Goes follows Billy Crocker (Luke Nowakowski), a man hopelessly in love with Hope Harcourt (Emma Ogea). The one problem? She is engaged to Lord Evelyn Oakleigh (Jackson Evans), and her mother is eager to see that this wedding takes place. Billy sets out as a stowaway onboard the ocean liner S.S. American – desperate to win the love of his life. Ultimately, if he wants to succeed, he finds that his only hope is to trust his alliances with nightclub singer Reno Sweeney (Meghan Murphy) and two wanted criminals - Moonface Martin (Steve McDonagh) and Erma (Tafadzwa Diener).

With music and lyrics by Cole Porter, the score features famous hits including: It’s De-Lovely, Friendship, and of course, Anything Goes. Full of love triangles, mistaken identities, and missed opportunities, you might just find yourself on the edge of your seat – eager to see what twist or turn might come next.

The die-hard fans of the classic musical know Cole Porter hits audiences with one larger-than-life number after another. Weber and his team fill the small stage to the brim with impressive designs and jaw-dropping choreography. Especially when combined with the stellar vocalists, those numbers ranging from You’re the Top to Blow, Gabriel, Blow certainly stand out. However, if you’re anything like this writer, you might also find that the intimate, smaller numbers truly hit the heart of the show.

It’s De-Lovely comes towards the end of Act I. Hope is discouraged, knowing deep down that she loves Billy, but her mother will never let her end the engagement. Alone on the ship deck, Billy finds her, and the two begin to sway and sing.

“The night is young, the skies are clear
So if you want to go walking, dear,
It's delightful, it's delicious, it's de-lovely.”

The lights dim to a deep blue, creating the feel of moonlight. As the song continues, the two become lost in each other, and start to dance. Other couples join and dance alongside them, but for Billy and Hope, it’s clear that the world only exists between the two of them. To put it simply, Ogea and Nowakowski enchant the Opening Night audience with their sweet duet. As the ending note plays and Billy dips Hope in a final pose, an audible sigh could be heard from the crowd. 

Inspiring vocalists and a jaunty score make Anything Goes a night of fun. If you’re a classical musical fan, then this is the show for you. If you have yet to experience a production of Cole Porter’s classic, Porchlight Music Theatre certainly offers an exciting introduction as we hit the show’s 90^th anniversary.

RECOMMENDED

Running through February 25, 2024 at Ruth Page Center for the Arts – 1016 N. Dearborn St. 773-777-9884

*Extended through March 10th!

'Twas the night before Christmas, when all through the house

Not a creature was stirring, not even a mouse;

The stockings were hung by the chimney with care,

In hopes that St. Nicholas soon would be there;

Many are at least somewhat familiar with Clement Clark Moore’s famous poem, A Visit from St. Nicholas. Beginning with the lines above, the poem describes a quiet Christmas Eve. Full of anticipation, a family goes to bed – with the hopes that once they fall asleep, St. Nicholas can arrive. With the help of his eight reindeer, he flies through the sky, landing on house after house to leave toys under the Christmas trees of the town. Moore’s poem offers a brief window into the magic of Christmas, and the pure joy that spreads as St. Nicholas makes his rounds.

Moore’s poem acts as the inspiration for Cirque du Soleil’s first holiday show. At the center is a young girl, jaded about Christmas Eve. Wishing he could help his daughter see the joy, her father begins to read A Visit from St. Nicholas. Lights shift, and suddenly the young girl is taken on a magical journey into the land of the poem. As Moore’s words ring throughout the theater, we see grand circus acts take the stage – each corresponding to one of the magical moments described in the poem.

Conceived and directed by Cirque du Soleil Artistic Director James Hadley, the talented performers showcase a range of acts from the aerial lamp and diabolo juggling to hoop diving and a roller-skating duo. The design elements take the performances to new heights – with a dazzling light show customized to each act. Audible gasps from this particular audience could be heard at every twist and turn – clearly eager to see what fantastical act these performers would complete next.

As much as the evening is about joy and grandeur, there are some acts that you just might find take your breath away with their grace. When the jaded daughter is sucked into the world of the poem, we see her father run after her – anxious to find his daughter amidst the chaos. He continues to run through only moments after she moves on to the next stage.  Just when it seems her father has lost all hope, we hear Moore’s words:

“The moon on the breast of the new-fallen snow, gave a lustre of midday to objects below.”

An aerial lamp descends from above. The father takes hold of the piece and rises higher and higher. As the lamp swings and the performer completes his jaw-dropping act, we see lights surrounding him start to sparkle, and the magic of the holiday spirit consumes him. Prior to this act, audience members had been cheering fairly consistently. During this particular act, the room was almost silent. It was clear that I was not the only one lost in the beauty of the moment.

Full of wonder, ‘Twas the Night is simply a night to remember. At the end of the show, we hear Moore’s final line:

“Happy Christmas to all, and all a good night!”

This particular audience erupted in applause and standing ovations. It feels safe to say that I would not be the only one leaving the theater full of holiday spirit.

RECOMMENDED

Running through December 28, 2023 at The Chicago Theatre. 175 N. State St. 312-462-6300