Displaying items by tag: Skokie Theatre

Some musicals carry such cultural weight that every new production feels like a referendum on how well a company can honor the original while making it feel alive again. West Side Story is one of those titles - a towering achievement in American musical theatre, a work whose emotional force and artistic innovation have endured for generations. Music Theater Works has now taken on this iconic musical at the North Shore Center for the Performing Arts in Skokie, and the result is a vibrant, beautifully staged production that captures both the drive and the aching humanity at the heart of the piece.

West Side Story is a modern retelling of Shakespeare’s Romeo and Juliet, but instead of two feuding families, it confronts the racial and cultural fault lines running through 1950s New York City. The Jets, a group of white American teenagers clinging to their sense of territory, clash with the Sharks, a Puerto Rican gang fighting for dignity, safety, and the right to belong in a city that continually pushes them to the margins. Their conflict is not just about turf; it is fueled by fear, resentment, and the prejudice that shapes how each group sees the other. When Tony, a former Jet trying to build a life beyond the violence, meets Maria, the sister of Sharks leader Bernardo, their connection is immediate and transformative. What begins as a spark of hope quickly becomes a dangerous love story unfolding against a backdrop of cultural tension, territorial pride, and escalating hostility.

As the feud intensifies, the young couple’s attempts to carve out a future together collide with the realities of their world. The rumble between the Jets and Sharks sets off a tragic chain of events, leaving Tony and Maria grasping for peace in a city determined to deny it. The musical’s final moments - heartbreaking, inevitable, and deeply human - underscore the cost of hatred and the fragile possibility of reconciliation.

The production also underscores one of the musical’s most enduring truths: that the idealism Tony and Maria cling to is constantly at war with the harsher realities shaping their world.

The creative pedigree behind West Side Story remains one of the most extraordinary collaborations in theatre history. Leonard Bernstein’s sweeping, genre‑blending score, Stephen Sondheim’s razor‑sharp lyrics, Arthur Laurents’ emotionally charged book, and Jerome Robbins’ groundbreaking choreography combine to create a work that is as musically thrilling as it is dramatically devastating. Bernstein’s score - among the most challenging he ever composed and one he found deeply artistically satisfying - remains one of his most defining artistic accomplishments. It is a piece that demands precision, passion, and a deep understanding of its themes, and Music Theater Works rises to that challenge with clarity and heart.

The company’s production is superbly realized, delivering crisp choreography, rich orchestral color, and performances that honor the emotional stakes of the story. It is a staging that respects the legacy of West Side Story while making the experience feel immediate and alive for today’s audiences.

(L to R) Pauleth Jauregui as Anita and Isabella Ruano as Maria in WEST SIDE STORY from Music Theater Works.

The cast is terrific, but it is Isabella Ruano as Maria and Pauleth Jauregui as Anita who anchor the production, grounding it with performances that feel both lived‑in and emotionally urgent. Ruano’s Maria is luminous from her first entrance, her voice soaring through “Tonight” with a clearness and warmth that make the character’s hope feel newly electric. Jauregui matches her beat for beat, delivering an Anita rich with fire, humor, and heartbreak; her vibrant, sharply etched “America” is one of the evening’s defining moments. Together, they anchor the musical’s emotional arc with a confidence that elevates every scene they touch.

Offering a warm, earnest Tony is Luke Nowakowski, his ringing tenor in “Maria” and sincerity in “Something’s Coming” providing a steady, heartfelt counterpoint to the show’s rising tensions. Emmanuel Ramirez’s Bernardo contributes a controlled intensity, shaping the Sharks’ dynamic with quiet authority, while Kameron Rojas Schueneman’s Chino adds thoughtful, understated work that lands effectively in the final scenes.

Connor Ripperger brings a commanding presence as Riff, sharpening the Jets’ energy with restless physicality and crisp musical attack. His leadership in “Cool” gives the number a taut, combustible edge that sets the tone for the gang’s world.

If there’s one aspect that doesn’t land quite as strongly in this otherwise beautifully executed production, it’s the chemistry between Tony and Maria. While both Nowakowski and Ruano act with sincerity and sing with impressive range, clarity, and confidence, their scenes together occasionally feel more musically aligned than emotionally connected. The relationship lands, but at times you want a deeper spark between them - a stronger sense of shared urgency to match the vocal strength they each bring individually. And because this performance comes so early in the run, it’s easy to imagine that their connection will deepen as the actors settle further into each other’s rhythms.

That note aside, the principal cast delivers a production driven by strong voices and sharply drawn character work, with Ruano and Jauregui leading the charge.

The wider ensemble gives the production its pulse, moving with a clarity and drive that continually pushes the story forward, and Eric Desnoyers brings a welcome touch of humor as Officer Krupke, landing sharp comedic beats that lighten the show’s more chaotic moments. But above all, it is the wide-ranging, contemporary ballet-infused dance sequences that catch fire - those large, kinetic passages where movement becomes the show’s primary language. Much of the choreography folds fighting into dance, turning confrontation into something almost balletic: graceful, sculpted, and charged with tension. The company navigates these moments with remarkable control, letting the beauty of the movement coexist with the danger underneath.

In these sequences, the ensemble moves with a shared purpose, letting the choreography shape the conflict and momentum without overstating it. Their control and cohesion give the dance its impact, turning each major passage into a clear highlight that quietly but confidently lifts the production.

(L to R) Luke Nowakowski and Isabella Ruano in WEST SIDE STORY from Music Theater Works at North Shore Center for the Performing Arts.

Though the stage musical has always kept its original song order - and I understand the desire to preserve that structure - I’ve long hoped to see a production take a cue from the film in one particular moment. In the movie, “America” becomes a spirited debate between the Shark men and women, with Bernardo and Anita sparring over their hopes and frustrations about life in the United States. That dynamic not only brings Bernardo further into focus and deepens his relationship with Anita, it also gives the number a fuller, more energized sweep by letting a larger group of dancers drive its rhythm. The stage version’s women‑only arrangement works, but the film’s version has always struck me as the more dramatically rich and character‑revealing choice.

Beyond the choreography, the production’s artistic leadership is equally strong. The creative team brings seamless cohesion to this production. Director Sasha Gerritson guides the story with clarity and emotional focus, while co-choreographers Clayton Cross and Isa Ramirez deliver movement that honors the show’s iconic style with a fresh, contemporary lift. Linda Madonia’s musical direction keeps Bernstein’s score warm, tight, and expressive, supported by Justin Kono’s precise, sensitive conducting. The orchestra plays Bernstein’s score with crisp articulation and a full, glowing sound, letting the music’s rhythmic bite and lyrical sweep land with real impact. David Serrano’s Spanish translation adds welcome authenticity, with Spanish subtitles projected overhead during musical numbers that make the language accessible to both native speakers and those following along. The production’s most charged moments are shaped with care and impact through intimacy and violence choreography crafted by Nick Sandys.Director Sasha Gerritson guides the story with clarity and emotional focus, while co-choreographers Clayton Cross and Isa Ramirez deliver movement that honors the show’s iconic style with a fresh, contemporary lift. Linda Madonia’s musical direction keeps Bernstein’s score warm, tight, and expressive, supported by Justin Kono’s precise, sensitive conducting. The orchestra plays Bernstein’s score with crisp articulation and a full, glowing sound, letting the music’s rhythmic bite and lyrical sweep land with real impact. David Serrano’s Spanish translation adds welcome authenticity, with Spanish subtitles projected overhead during musical numbers that make the language accessible to both native speakers and those following along. The production’s most charged moments are shaped with care and impact through intimacy and violence choreography crafted by Nick Sandys.

Visually, the production is exceptionally well crafted. Bob Knuth’s scenic design and Cecilia Chan’s props work ground the story firmly in its era, giving the stage a lived-in authenticity that supports the drama without overwhelming it. The printed scenic drops hanging above and along the sides and rear of the stage - with their black windows, fire escapes, and bold red backgrounds - add a distinctive graphic layer, subtly echoing the stark lines and verticality of the 1961 movie poster designed by Joe Caroff. It is a smart visual nod that connects the production to its cinematic legacy without feeling derivative, instead offering a familiar, poster-like clarity that frames the action with understated style.

Bob Kuhn’s costumes and Kristen Brinati’s wardrobe leadership capture the period with clean, thoughtful detail, while Alice Salazar and Melanie Saso’s hair, wig, and makeup design add the finishing touches that make the Jets and Sharks feel fully appreciated. Andrew Meyers’ lighting brings sharp contrast and emotional texture to the stage, and Stephanie Farina’s sound design keeps the vocals and orchestra balanced and clear. This talented team builds an environment that feels true to the time, the place, and the heartbeat of West Side Story.

Taken together, these elements give the production a unity that extends well beyond its individual performances. The design work, staging choices, and musical precision all reinforce one another, creating a West Side Story that feels both faithful to its roots and freshly energized for a new audience. Taken together, these elements give the production a unity that extends well beyond its individual performances. The design work, staging choices, and musical precision all reinforce one another, creating a West Side Story that feels both faithful to its roots and freshly energized for a new audience. It’s a staging that understands the show’s emotional architecture and honors it with care. A staging this confident proves just how alive West Side Story can still feel.

Music Theater Works brings all of this together in a final product that feels both classic and newly urgent. Their West Side Story is a richly performed, thoughtfully designed, and confidently led production that honors the legacy of this landmark musical while giving it the vitality it deserves. Audiences can experience this outstanding staging August 13–30, 2026, and full details - including tickets - are available at www.musictheaterworks.com.

Recommended.

Producing Artistic Director Kyle A. Dougan and Music Theater Works are proud to announce its 47th season. The 2027 season at the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd. includes Parade, March 4 - 28, 2027; Bye Bye Birdie, August 12 - 22, 2027; Mary Poppins, October 7 - 31, 2027, and the fourth and final show to be announced, December 16, 2027 - January 2, 2028. Parade and Mary Poppins will be in the North Theatre where Music Theater Works reimagines shows to fit the more intimate space while Bye Bye Birdie and the fourth show will be performed at the George Van Dusen Theatre to showcase these shows on a larger scale. Current members may renew for the 2027 season now with new memberships available beginning Wednesday, Oct. 7 at 12 p.m. and single tickets for all the 2027 productions will go on sale Wednesday, Jan. 14, 2027 at 12 p.m. For more information on the 47th season go toMusicTheaterWorks.com and for membership renewals call 847-673-6300.

"This season tells the story of who we are. From the urgent humanity of Parade to the infectious joy of Bye Bye Birdie, the timeless magic of Mary Poppins and an exciting finale still to come, each production reflects our belief that musicals have the power to unite us across generations,” said Producing Artistic Director Kyle Dougan-LeBlanc. As we celebrate 47 years, we aren't simply looking back, we're investing in the future of this art form by creating experiences that are intimate, inclusive, artistically bold and deeply connected to our community. That has always been our purpose, and it's what will carry Music Theater Works into the future.”

The Music Theater Works 2027 season includes:

PARADE

March 4 - 28, 2027

Book by Alfred Uhry

Music and Lyrics by Jason Robert Brown

North Theatre at the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd., Skokie

Parade is the daring, Tony Award-winning musical masterpiece from Alfred Uhry (Driving Miss Daisy) and Jason Robert Brown (The Last Five Years, The Bridges of Madison County). Based on a true story, Parade follows Leo and Lucille Frank, a young Jewish couple from New York whose new life in early 20th-century Georgia is upended when Leo is accused of a devastating crime. As their marriage, faith and belief in justice are tested, they confront prejudice, political pressure and a community searching for someone to blame. In this unflinching, intimate production, Parade brings audiences face-to-face with a story of love, resilience and the enduring pursuit of truth.

BYE BYE BIRDIE

August 12 - 22, 2027 

Book by Michael Stewart

Music by Charles Strouse

Lyrics by Lee Adams

George Van Dusen Theatre at the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd., Skokie

A Tony Award-winning and classic musical comedy set in small-town 1950s America, Bye Bye Birdie tells the story of rock & roll star “Conrad Birdie.” When Conrad gets drafted into the Army, he plans to say a final goodbye to the town of Sweet Apple, Ohio - but not without a farewell kiss! Based on the events of Elvis Presley’s own draft into the Army in 1957, Bye Bye Birdie is a sweet, lighthearted musical filled with young romance and just a bit of chaos featuring the classics “Put on a Happy Face,” “How Lovely to Be a Woman” and, of course, “Bye Bye Birdie.”

Disney and Cameron Mackintosh’s

MARY POPPINS 

October 7 - 31, 2027

Book by Julian Fellowes

A musical based on the stories of P.L. Travers and the Walt Disney Film

Original Music and Lyrics by Richard M. Sherman and Robert B. Sherman

Book by Julian Fellowes

New Songs and Additional Music and Lyrics by George Stiles and Anthony Drewe

Co-Created by Cameron Mackintosh

North Theatre at the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd., Skokie

Cameron Mackintosh's and Disney’s Tony Award-winning “Best Musical” Mary Poppins brings its timeless magic to audiences of all ages. Set inside a child’s oversized Victorian doll house that bursts open with imagination, wonder and theatrical magic, everyone’s favorite nanny arrives with her iconic umbrella to take the Banks family, and audiences, on an unforgettable journey. Featuring beloved songs including “A Spoonful of Sugar,” “Supercalifragilisticexpialidocious” and “Step in Time,” this enchanting production is filled with breathtaking dance, dazzling visual moments and heartwarming storytelling. A magical experience for both children discovering the wonder of the story for the first time and adults rediscovering the joy and nostalgia of a beloved classic, Mary Poppins is a family adventure where imagination takes flight and everything is truly “Practically Perfect.”

Show #4

December 16, 2027 - January 2, 2028

George Van Dusen Theatre at the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd., Skokie

MadKap Production’s A Streetcar Named Desire at Skokie Theatre offers a raw, riveting interpretation of Tennessee Williams’ masterpiece, immersing the audience in a world where beauty and brutality constantly collide. The production captures the oppressive heat and emotional volatility of New Orleans as Blanche DuBois arrives at her sister Stella’s modest home, clinging desperately to fading illusions while the truth she’s outrun begins to close in. Her fragile elegance crashes against the brute force of Stanley Kowalski, and the tension between them builds with an inevitability that’s both mesmerizing and terrifying. 

It’s a tension rooted not only in the room but in Blanche’s entire history. The story of a woman who stayed home to care for her parents as they died, then struggled to hold onto their home and land as medical expenses mounted and eventually forced her out into the world with “sixty‑one cents” in her purse, rings true today more than ever.

The intimacy of Skokie Theatre amplifies every emotional tremor, turning the cramped apartment setting into a pressure cooker where secrets, desires, and power struggles simmer just beneath the surface. Wonderfully directed by Wayne Mell, the staging leans into the play’s psychological depth, allowing the actors to explore the vulnerability, longing, and explosive conflict that define these characters. What emerges is a haunting, deeply felt production that honors Williams’ poetic language while making the story feel immediate and painfully human. A Streetcar Named Desire at Skokie Theatre is a resonant, beautifully acted experience that stays with you long after the final moment.

The cast delivers a richly textured, emotionally charged performance, anchored by Hailey Hance’s luminous and deeply vulnerable portrayal of Blanche DuBois. Hance navigates Blanche’s unraveling with remarkable nuance, shifting effortlessly between brittle charm, aching fragility, and flashes of desperate bravado. Elyna Mellen offers a beautifully steady counterpoint as Stella Kowalski, grounding the production with warmth and quiet strength as she’s pulled between the two people she loves most. Nathaniel Kohlmeier brings a fierce, narcissistic and unsettling magnetism to Stanley Kowalski, capturing both his brute force and the dangerous charisma that fuels every confrontation. Denis Vorobyev’s Mitch adds a welcome softness to the storm, his gentle sincerity and emotional honesty making his scenes with Blanche especially resonant.

The supporting ensemble brings texture and pulse to life in Elysian Fields, each performer adding a distinct spark to the world surrounding the Kowalskis. AJ Carchi and Wyatt DeLair charge their scenes with crisp, kinetic energy, while Neil Figuracion anchors his moments with a quiet, compelling weight. Kimmy Higginbotham and Dee Dee Logan offer nuanced, emotionally attuned work that enriches the production’s blend of tenderness, tension, and volatility. Together, the ensemble shapes a world that feels immediate and deeply human - a living, breathing testament to the enduring force of Williams’ drama.

Ultimately, MadKap’s A Streetcar Named Desire at Skokie Theatre stands as a vivid, emotionally resonant interpretation of Williams’ classic - one that feels both faithful to the text and urgently alive. The production’s intimate scale, paired with a cast willing to dig deep into the play’s bruised hearts and volatile tensions, creates an experience that lingers long after the final scene.

A Streetcar Named Desire runs through April 26th, and it’s a compelling, beautifully crafted revival well worth experiencing before the run comes to a close.

Highly Recommended.

For tickets and/or more show information, click here.

This review is proudly shared with our friends at www.TheatreInChicago.com. 

Back by popular demand and bursting with harmony, MadKap Productions resurrected the beloved musical revue Forever Plaid for three jubilant encore performances at Skokie Theatre on August 16th and 17th. After its earlier-season success, this revival felt less like a return and more like a victory lap—richly earned and warmly welcomed.

If unfamiliar, Forever Plaid is a toe-tapping, heartwarming blast from the past that brings four lovable misfits back from the great beyond for one last shot at musical glory. Meet Sparky, Smudge, Jinx, and Frankie—four sweetly square guys with a passion for pitch-perfect harmony and matching plaid blazers. Just as their dreams of stardom are about to take off, fate throws a curveball (okay, a car crash), and their big break is cut short. But thanks to a cosmic do-over, the Plaids descend from the afterlife to croon their way through a heavenly setlist of 1950s hits like “Three Coins in the Fountain,” “Catch a Falling Star,” and “Love Is a Many-Splendored Thing.” What follows is a delightfully awkward, laugh-out-loud evening of music, mishaps, and mid-century magic as the boys battle nerves, forgotten lyrics, and the occasional nosebleed—all in perfect harmony.

But don’t let the retro kitsch fool you—Forever Plaid is more than just a jukebox joyride. It’s a love letter to friendship, second chances, and the kind of earnest charm that never goes out of style. With tight barbershop harmonies, hilariously clunky choreography, and a wink to the innocence of yesteryear, the show hits all the right notes. As the Plaids find their groove and rediscover the joy of singing together, they remind us that even the most unexpected encore can be a chance to shine. Whether you’re a sucker for nostalgia or just love a good harmony with a side of heart, Forever Plaid delivers a feel-good experience that’s equal parts goofy and glorious.

Directed and choreographed with pizzazz by Edward Lindham and musically supercharged by Jeremy Ramey, this production of Forever Plaid is a plaid-patterned rocket ride through retro heaven. Lindham leans gleefully into the group’s lovable awkwardness, turning every fumble and flinch into comedy gold, while Ramey’s musical direction keeps the harmonies tighter than a doo-wop group at a sock hop. The result? A toe-tapping, heart-thumping, harmony-hugging spectacle that’s equal parts sentimental swoon and vintage vaudeville—with just enough camp to keep things deliciously offbeat.

And the cast? LOVED each one of them! They don’t just hit their marks - they ignite the stage. Nick Arceo’s Smudge is the stealth standout, slipping in sly one-liners and velvety harmonies with the ease of someone who knows exactly how good he is. Sean M. G. Caron’s Frankie is a jitterbug of sincerity, radiating boyish wonder and crooning with a sweetness that could soften a soda fountain. Elijah McTiernan’s Sparky lives up to his name - he ricochets through the show with razor-sharp timing and a grin that dares you not to laugh. And Taelon Stonecipher’s Jinx? He begins as a whisper, but crescendos into a powerhouse—his final notes feel like a love letter from the afterlife, equal parts hilarious and haunting.

Together, they conjure a comeback that’s equal parts doo-wop séance and bromantic fantasia—a harmony-soaked hug from the great beyond, and utterly impossible to resist.

"Plaid-tastic!"

And if you've never been to Skokie Theatre, be sure to consider it as a great place to see a stage production. Since its establishment in 2010 by producer Wendy Kaplan and director Wayne Mell, MadKap Productions has played a pivotal role in the artistic revitalization of the Skokie Theatre. Upon assuming leadership of the venue in 2014, Kaplan and Mell transformed it from a dormant space into a vibrant cultural hub. Each season, MadKap presents a thoughtfully curated subscription series that spans a wide spectrum—from enduring theatrical classics to innovative contemporary works—ensuring a diverse and enriching experience for audiences of all tastes.

Having attended several of their productions, I can attest to the consistent quality and heartfelt execution that define MadKap’s approach. Their commitment to excellence extends well beyond the stage. Throughout the year, the Skokie Theatre remains active with an eclectic array of programming, including live concerts, comedy showcases, and popular community events such as the Skokie Idol competition and the Short Play Festival.

The venue itself offers an inviting and intimate atmosphere. With general admission seating, early arrival is recommended to secure a preferred location; however, the thoughtful layout ensures that every seat provides a clear and comfortable view of the performance.

Next up – Pippin, starting September 5th. 

For more information and tickets to upcoming events, visit https://gopher-halibut-ga77.squarespace.com/.

*This review is also featured on https://www.theatreinchicago.com/! 

MadKap Production’s A Funny Thing Happened on the Way to the Forum bursts onto the Skokie Theatre stage with rollicking energy and infectious chaos, blending sharp wit with rapid-fire comedy. Featuring the unforgettable music and lyrics of Stephen Sondheim and a book by Burt Shevelove and Larry Gelbart, this timeless gem premiered on Broadway in 1962, echoing the mischievous spirit of ancient Roman playwright Plautus.

At the center of the story is Pseudolus (Ed Rutherford), a crafty Roman slave with one goal: to earn his freedom. His scheme? Help his lovestruck young master, Hero (Tyler Lord), win over Philia (Emily Lewis) - a sweet but scatterbrained courtesan. But things get complicated fast when Philia is revealed to be promised to the bombastic soldier Miles Gloriosus (Max Perkel), unleashing a torrent of mix-ups, slapstick mayhem, and frenzied farce that barrels forward with dizzying speed.

The musical opens with the vibrant anthem “Comedy Tonight,” setting a lively tone of vaudevillian mischief and fast-paced fun. What follows is a cavalcade of quirky characters—nervous Hysterium (Andrew Buel), domineering Domina (Erin Renee Baumrucker), and perpetually lost Erronius (Gayle Starr) - each fueling the frantic, farcical momentum with their own brand of comic mayhem.

The show’s lasting popularity has sparked numerous revivals and a 1966 film adaptation featuring Zero Mostel, reprising his iconic role as Pseudolus. Decades later, the musical continues to charm audiences, treasured for its clever humor, classic slapstick, and vibrant theatricality – and now here we are at Skokie Theatre. Afterall, Forum is considered by many as one of the funniest farces ever written.

Though A Funny Thing Happened on the Way to the Forum doesn’t wear its politics on its sleeve, it’s laced with sly irony that lampoons authority and societal conventions. Drawing from Roman farce and vaudeville traditions, the musical uses exaggerated characters and absurd scenarios to expose the folly of rigid hierarchies and cultural norms.

Despite its ancient Roman setting, the musical cleverly reflects the quirks of modern life - its historical backdrop offering just enough distance to satirize familiar themes like corruption, vanity, and societal nonsense without striking too close to home. The production perhaps strikes a different chord with today’s audiences than it did in the 1960s, when it was embraced as a bold and playful revival of Vaudevillian farce. Back then, its irreverent humor and exaggerated characters were celebrated largely for their entertainment value, with little pushback on the underlying themes.

While the show is clearly satirical in nature, modern viewers are more likely attuned to the implications behind its comedic treatment of slavery and the commodification of women. These elements, once played simply for laughs, are now seen through a more critical lens informed by evolving cultural conversations around representation, consent, and power dynamics.

As a result, portrayals of enslaved characters and, in this case, the Courtesans dealt by Marcus Lycus (Daniel Leahy), often prompt deeper discussions about historical context and theatrical intent. This contemporary production tends to lean into the satire rather than soften it, using exaggerated staging and bold casting choices to spotlight the absurdity of outdated social norms.

By doing so, Director Wayne Mell reframes the humor as subversive rather than regressive - honoring the show’s chaotic spirit while acknowledging its problematic aspects. This approach allows Forum to remain a vibrant piece of theatrical history while adapting to the sensibilities of modern audiences.

Skillfully directed, this production masterfully bridges generations of comedy. Mell guides a youthful cast in capturing the sharp, vaudeville-inspired humor that defined the original in the 1960s and ’70s, making it feel fresh and relevant for audiences in 2025. The result? A flat-out hilarious production that hits every sardonic beat envisioned by its creators over six decades ago.

Kudos to Wayne Mell and Producer Wendy Kaplan for breathing new life into this theatrical gem and bringing its timeless wit back to a Chicago stage.

Ed Rutherford is a standout as Pseudolus, delivering rapid-fire humor and showcasing sharp comedic instincts that keep the audience laughing throughout. His portrayal of the fast-talking, quick-thinking slave is both dynamic and crowd-pleasing and he sets the pace well. Paired with Andrew Buel, the two form a well-matched scheming duo, adapting on the fly as their ever-evolving plan meets one hilarious obstacle after another. Their chemistry drives much of the show’s momentum and mischief. Tyler Lord also has his moment in the sun with a beautiful rendition of “Love, I Hear.”

Among a cast filled with talented actors, the trio of Aidan Espinosa, Owen Espinosa, and Mitchell Shaw steal the spotlight with their uproarious turns as eunuchs and Roman soldiers. Their sharp timing, outrageous antics, and expertly executed physical comedy keep the audience in stitches, consistently igniting laughter and applause throughout. They don’t just land their jokes - they launch them.

MadKap Productions really enjoys bringing back the classics (as they did so well with last season’s South Pacific). Look for later popular hits from yesteryear to hit the stage later this season like Pippin, Deathtrap and Company – and why not, they bring them to life so well. 

With plenty of hilarious moments and big song numbers like “Free,” “That Dirty Old Man,” “That’ll Show Him” and “Love, I Hear,’ I highly recommend this theatrical event as a great way to enjoy a “comedy tonight - and speak of tragedy tomorrow” as a soaring musical sure to tickle your funny bone.

MadKap’s A Funny Thing Happened on the Way to the Forum is playing at Skokie Theatre through August 3^rd. For tickets and/or more show information, click here. 

*This review is also featured on https://www.theatreinchicago.com/!  

South Pacific, with music by Richard Rodgers and lyrics by Oscar Hammerstein, is undoubtedly one of my all-time favorite musical theater pieces. This beautiful, lengthy show features some of the most enduring and heartwarming classic Broadway hits of romance ever written, including “Bali Ha’i,” “Some Enchanted Evening,” “I’m in Love With a Wonderful Guy,” “Happy Talk,” “Younger than Springtime,” and the heartbreakingly wistful “This Was Nearly Mine.”

Directed by Pat Henderson with musical direction by Jeremy Ramey, this MadKap production at Skokie Theatre managed to fit a large cast of talented players into a small space, telling a big story with many levels of relevance to today’s events. The musical explores themes of finding a second chance at true love later in life and the challenges of sexual and racial prejudice against women and Polynesians during wartime.

Most theater lovers have seen South Pacific at some point, but if not, the main plot revolves around Navy nurse Nellie Forbush, considered an old maid in the United States, who is sent to the South Pacific during World War II. There, she falls in love with a widower and expat from Paris named Emile De Becque.

Nellie Forbush is portrayed with great depth and emotional range by Willow Schneider. Schneider has a wonderful voice and is a talented actress. I truly appreciated her ability to capture both the responsible, respectable American professional nurse and the love-struck, happy young woman who has found true love later in life. Schneider really shines vocally, expressing the true excitement and joyousness of spirit in the songs “I’m in Love with a Wonderful Guy” and “I’m Gonna Wash That Man Right Outa My Hair.”

The character of Emile De Becque is wonderfully played by Tony Calzareta. Calzareta brings mature, compassionate energy to the character and his amazing singing voice to the classic songs “Some Enchanted Evening” and the heartbreaking “This Was Nearly Mine.” Calzareta truly conveyed the depth of love he found in this young woman—and nearly lost—during these songs and in the scene where Army officials try to get him to risk his life on a mission against the Japanese. He declares that nothing is more important to him than having her love now that he’s finally found her - not any war or request to endanger himself from any government.

Islander and trader Bloody Mary, played by Mariel Saavedra, was a delight with her rich, warm voice and motherly take on having to protect and, at the same time, try to marry off her young daughter to any soldier or islander who has enough money to take care of her. Mariel sang a great rendition of “Bali Ha’i,” the ultimate island siren song, and also “Happy Talk,” where she encourages her daughter and soldier boyfriend to chat about happy things they’d like to do together so that their dreams can come true.

Max Perkel as Lieutenant Joe Cable also displayed his vocal prowess in his segment of “Bali Ha’i” and his finely finessed performance of “You’ve Got To Be Carefully Taught”. 

Luther Billis, the fast-talking, somewhat sleazy purveyor of women and cigarettes who operates a secret laundering side-business, was artfully played by Andrew Buel. Buel managed to get some very funny takes in while also conveying the deep loneliness and hopelessness that a lower-level soldier must have faced while scraping by on an island in the Pacific without much respect for their lives. The entire supporting cast of nurses and soldiers had great voices too, and I thought they worked well together, bringing humor and energy to this wonderful musical classic.

I have to give special acknowledgment to the talents of the live musicians working as the orchestra for the play: Musical Director and keyboardist Jeremy Ramey and Andrew Millikan on the second keyboard. As soon as the overture for the play began, it was clear that the music for this production was going to be outstanding. Despite the small number of musicians on stage, I could’ve sworn there was a full orchestra hiding somewhere behind them at times. Ramey and Milliken are exceptionally talented musicians, and every note they played from the beginning to the end of the show soared with the deep romantic and dramatic emotions that a great production of South Pacific deserves. Their musical accompaniment was so captivating that I could have listened to them play the songbook all evening.

My only note regarding production value is that the stage setting could have been a bit more tropical and elegant, with a little more detail in the backdrops and set pieces. However, the creative team was resourceful in its staging considering the smaller stage area for such a large production, so that the aisles and stairs leading up to the stage were used effectively to expand the space.

All in all, the combined talents of this maturely cast production created a wonderful full night of entertainment with a classic, romantic, and enduring Rodgers and Hammerstein musical.

I highly recommend you and your family attend this enlivening production, suitable for audiences of all ages! There is ample free parking across from and next to the theater.

For tickets and more show information, click HERE.

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. 

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.

I remember when my dad, then a much younger man than I am now, had just lost his first parent. Anything—a TV show or a song or a greeting card or something he’d read—that hinted at aging or mortality could be an emotional trigger and start him crying. Most of the triggers were personal, but I remember the time he rented On Golden Pond on VHS. I don’t remember a thing about the movie—it wasn’t about a time-traveling Delorean or a Christmas Eve skyscraper full of terrorists or a theme park full of velociraptors—except that it was about just those two things—aging and mortality—and that long before the movie was even over, my dad was weeping.

All these years later, with me being much older than my dad, who himself passed away a few months back, I guess I’m now the ideal audience, the prime candidate, the mark, for On Golden Pond. I’d forgotten all about that 1980s video store rental incident until I attended the Skokie Theatre’s current production of Ernest Thomson’s play, directed by Wayne Mell and produced by Wendy Kaplan. But as soon as the metaphorical curtain rose, the real-life waterworks began.

The source material, of course, has such heartstrings tugging as its intent, but it requires a talented and sympathetic cast to make it work. And this cast works.

Bernie Rice’s Norman Thayer is everybody’s aging father (or father-in-law)—that combination of commanding your compassion (pity?) or and respect (fear?) at the same time. Towering, but faltering. Loud, but hesitant. Right, but maybe not as right as he used to be. Henry Fonda might’ve been my grandpa—handsome as all get out, but almost too iconic, too on the nose. But Bernie Rice sure could’ve been my dad—real.

Judy Rossignuolo-Rice’s Ethel Thayer, while dwarfed by her husband, filled the stage whenever she was on it, and played a woman who could be, who should be, a grandma. Her Ethel is just right. Just the right amount of sweet when it’s needed. Just the right amount of wise when it’s warranted. And always the right bit of sass and spunk.

The rest of the cast also fits right in on Golden Pond. Karyn Louise Doerfler’s just the right mix for her role—Ethel and Norman’s somewhat-estranged adult daughter, Chelsea—too. She’s a grown woman, so she doesn’t need any love or validation from her folks. But she’s still their daughter, and still vulnerable enough that she wants it (and, who am I kidding, it doesn’t matter how old we are, we still need that, which is the whole point of the show in the first place).

Chelsea’s stepson-to-be, Billy Ray Jr. is played delightfully and exuberantly by AJ Carchi, themselves a teenager, and one who also convincingly plays a teenager—skulking one second, mischievous the next, and in the end, in need of that same love.

Part of the family for decades is Peter Goldsmith’s rural mailman, Charlie—as quirky and lovable and vulnerable as Norman and Ethel and the rest, but he’s also the heart of the whole thing. Not just because if Charlie loves the Thayers, then we ought to love them, too. But Goldsmith brings a heart and an innocence to Charlie that not only seemed real, but that lit up any scenes he wandered into.

But this cast, and this production, really do create a family—that nostalgic, heart-tugging, greeting card, Norman Rockwell sorta family that maybe only ever existed in our heads. But it exists right now, on the stage of the Skokie Theatre, during their run of On Golden Pond, from now until February 25.

And I’d be remiss to mention the Skokie Theatre, itself. A Skokian of some two decades now, my own self, I’ve visited the charming silent-film-era place during its incarnations through the years. From watching a daughter take part in the long-gone Gorilla Tango Theater to the old black-and-white movies they show in the air-conditioned cool during each August’s Backlot Bash (named for the theater’s surroundings being the location of Hollywood’s pre-Hollywood backlot), I’ve watched it change. The current incarnation—beautifully and lovingly making this theater a home—is celebrating 10 years of creating art, creating community, and creating family, and their current production of On Golden Pond couldn’t be a more fitting way to do it.

At Skokie Theatre through February 25^th.

Laugh-out-loud funny, “The Tale of the Allergist’s Wife” from an award-winning script by Robert Busch, is an entertaining domestic comedy in the vein of Neil Simon, very Jewish New York humor. MadKap Productions, which has moved to the Skokie Theatre with this show, has given it a top-notch treatment, with an elegant, very finished set—an expensively furnished co-op apartment on Riverside Drive in Manhattan.

There we find Marjorie Taub (Julie Stevens) suffering mightily on a settee, from a headache brought on by angst over whether her intellectual aspirations (she spends all her time attending heady lectures, museums, and reads Nietsche and Herman Hesse) are all for naught. “I’m just a peasant from the shtetl," she says. "I should be plowing the earth.”

All the while her sympathetic doorman, Mohammed (Ravi Kalani) is installing a designer light fixture he pulled from storage while uttering supportive counters to Marjorie’s self-loathing whines. Her woes are increased by her aging mother, Frieda (Amy Ticho), who lives down the hall, but visits constantly to moan about her bowl movements in graphic detail, between cutting remarks that buttress Marjorie’s self-hatred.

The allergist, Dr. Ira Taub (Peter Leondedis), recently retired and living a self-congratulatory life of helping student doctors, and indigent allergy sufferers in the inner city, tries to comfort Marjorie as well. But it is the arrival of Lee (Aimee Kleiman), a long lost childhood friend, that throws a monkey-wrench in this reliably operating den of neuroses. Directed by Goodman-alum Steve Scott, all this angst-ridden suffering is delivered with line after line of humorous commentary and throwaway jokes.

But as its vaguely Chaucerian name suggests, “The Tale of the Allergist’s Wife” is at bottom a morality tale. After a crescendo of crises brought on by Lee, who squats in the apartment and turns out to be quite a gifted grifter, we get a resolution capped with a summary of the moral of the show. So the core of the comedy is dampened a tad in moments when it departs from the humor, to level a dose of somewhat heavy handed preachiness.

Don’t get me wrong, this script is good, and the performances earnest and skillful, with Aimee Kleiman as Lee a cut above (she reminded me of Julie Louis Dreyfus in Seinfeld). But overall the pacing seems slow, and the cast labored over lines that might be funnier if delivered faster and more off-hand. In comedy, it’s all in the timing. Set design is by Wayne Mell (he also does promotion and the house was full), with lighting by Pat Henderson, and truly excellent costumes are by Wendy Kaplan, who also produces the show for MadKap Productions.

Nominated in 2000 during its two-year Broadway for three Tony Awards (it won a Drama Desk Award), “TheTale of the Allergist’s Wife” is a good play well-delivered. It runs through Nov 19, 2023, Fridays and Saturdays at 7:30 pm, and Sundays at 2:00 pm, with one Wed. matinee on Nov 15 at 1:30 pm at the Skokie Theatre, a renovated 1912 movie house that is a gem of a performance space.