PicksInSix Review: Harry Potter and the Cursed Child - Broadway in Chicago

A THRILL-A-MINUTE BLOCKBUSTER ADVENTURE!
PicksInSix® Gold Review | Ed Tracy

Broadway in Chicago’s Nederlander Theatre is the first stop for the national tour of “Harry Potter and the Cursed Child” that had an epic premiere on Thursday, primed and ready for a long sit-down for the holiday season in Chicago that will no doubt fill every corner of Randolph and Dearborn with junior-level sorcerers with maroon and gold striped scarves and wands.

This is the final saga in J. K. Rowling’s spellbinding series of books that continue to engage readers of all ages, has spawned six epic films, and a hugely successful Broadway run garnering ten 2018 Tony Nominations winning six including Best Play. Following a Covid shutdown, the original two-part version was modified to one two-act play that has been retooled by one of the largest—and most celebrated—production teams ever assembled for the tour.

For anyone still wondering if this robust and heart-pounding show can do justice to all that has come before, rest assured that “Harry Potter and the Cursed Child” truly is a thrill-a-minute blockbuster adventure with all the magical twists and eye-popping special effects imaginable. It’s also an intriguing heartfelt story—filled to the brim with surprises that befit the original—written by Rowling, playwright Jack Thorne and director John Tiffany. Tiffany, with movement director Steven Hoggett, have assembled a superb cast to play new versions of the familiar characters that successfully tap into the memories of diehard fans who are sure to flock to this show, and are clever enough to captivate first timers and the young-at-heart from beginning to end. It’s a win-win all around!

To the story, it’s 19 years later. Harry Potter (John Skelley) and Ginny Weasley (Trish Lindstrom) are now married, as are Ginny’s brother Ron (Matt Mueller) and Hermione Granger (Ebony Blake), who is now serving as Head of the Ministry of Magic. Their children—Albus Severus Potter (Emmet Smith) and Rose Granger-Weasley (Naiya Vanessa McCalla)—board the Hogwarts Express where they meet Scorpius Malfoy (Aiden Close) son of Harry’s nemesis Draco Malfoy (Bejamin Thys). There is a dark cloud hovering over Scorpius and once at Hogwarts, the two form an alliance after being selected to Slytherin.

After meeting Amos Diggory (Larry Yando), the two join forces with his niece Delphi (Julia Nightingale) and plan to change the trajectory of the competition that ultimately cost the life of Amos’s son, Cedric Diggory (Caleb Hafen). Using a flurry of magical spells, the trio infiltrate the Ministry, abscond with the Time-Turner orb and are off on a race across time to save Cedric, only to realize that their impact on the past has a devastating effect on the present.

The fascinating arc of the story allows us to experience an exciting new adventure. The Dementors are here, along with Albus Dumbledore (the brilliant Yando who also plays Severus Snape), Moaning Myrtle (a delightful Mackenzie Lesser-Roy) and Professor McGonagall (Katherine Leask, who also shines as Professor Umbridge).

On the creative side, scenic designer Christine Jones uses massive arches to frame the Hogwarts action that then evolve seamlessly to establish other places and time periods. Among the many ingenious elements—including a plethora of magical entrances, high flying exits and cape-flashing scene changes—are the almost balletic use of twin stair units at Hogwarts and a delightfully carnivorous bookshelf. Imogen Heaps’s costumes are sensational. Neil Austin’s lighting and sound by Gareth Fry all complement Jamie Harrison’s astounding illusions that all contribute to a stunning, visual extravaganza.   

The message of love, family and friendship—and of good vs. evil—at the heart of this story courses through Skelley’s moving portrayal of Harry and in his relationship with his son. The younger clan form a union against the ever present dark arts to the extent that there feels like there could be much more to come in this franchise, despite Rowling’s assertion that this is Potter’s crowning achievement.

If that is the case, we will all have to join the next generation of adventure seekers and relive this series all over again. For the present, “Harry Potter and the Cursed Child” will be making magic every night at the Nederlander for all to see—a memorable holiday outing that will last well into the new year and beyond.

PHOTO|Matthew Murphy

Broadway in Chicago
presents
National Tour Debut
Harry Potter and the Cursed Child
James N. Nederlander Theatre
through February 1, 2025

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NATIONAL TOUR WEBSITE

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PicksInSix Review: A Christmas Carol - Goodman Theatre

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Pure, Timeless Dickens Magic and Merriment!
Guest Contributor | Scott Gryder

With over 100 different versions of this classic story available, I was ready to enjoy the popular Charles Dickens’ classic “A Christmas Carol,” but I was nowhere near prepared for the magic that Goodman Theatre would bring to its 44th annual production! With the entire house packed with families and friends of all ages on Thursday night snuggled into the Albert Theatre, enjoying the soft, welcoming glow of the stage’s London street scene, it warmed the heart to see the return of this beloved holiday tradition.

After over four decades of performances, you’d expect a production to show some wear and tear, but Goodman Theatre’s “A Christmas Carol” ages like a fine gluhwein. Chicago favorite Jessica Thebus, co-adaptor/director of Goodman’s superb 2020 audio streaming version, creates directorial magic onstage. Thebus masterfully presents flawlessly flowing stage pictures, especially considering the could-be intimidatingly large ensemble, peppered with delightful surprises. The famous plot focuses mainly on Ebenezer Scrooge’s personal reflection and growth; however, the theme that rings truest reminds us to be kind to everyone, for you never know where they’re coming from, nor what they’re going through.

As for Goodman’s Scrooge, Larry Yando delivers a masterclass in performance. Returning for his 14th year, Yando incorporates delightfully shifting vocal stylings and physical energy that keeps the audience continually falling in love with the antagonist. From a graveled character voice, reminiscent of a barren tree branch scratching across a wintery windowpane, to his spontaneous celebratory gyrations, comparable to a joyful toddler learning to walk, Yando’s ability to balance moments of sinister humbug with physical comedy are remarkable. Contrastingly, Thomas J. Cox amuses and captivates with a mousy timidity and enthusiasm as the underpaid clerk Bob Cratchit. And the epic ensemble doesn’t waste a beat onstage. Whether filling a London street scene or attending a private party, each cast member brings a fully developed character, nuanced and alive to every moment. Particular standouts include Gayatri Gadhvi’s stirring and poignant Tiny Tim Cratchit and the silver-and-gold vocals of Bethany Thomas’ Ghost of Christmas Present.

The show starts unexpectedly small, using the concept of intimate fireside storytelling; however, it doesn’t take long for the stage to hustle and bustle with an ensemble that glides so meticulously into stage pictures as if choreographed. Although slower paced and delivered in a more formal language style than I’d expected of a family-centric production, Thebus’ casting admiringly celebrates gender, color, and orientation, and the audience is captivated throughout as the multitude of cast members and mammoth set pieces continually dissolve and materialize before our very eyes as we weave through the time-honored plot. The subtle, natural use of performer amplification was also greatly appreciated.

The true abracadabra comes from the combined design genius of “A Christmas Carol.” Set designer Todd Rosenthal’s use of nearly invisible multi-layering and floating sets, along with staggering control over special effects, breathtakingly recreates the realistic and idyllic scenes of a Thomas Kinkade painting. In perfect complementarity, Keith Parham’s lighting wizardry only further illuminates Rosenthal’s sets, providing secret passageways for sudden reveals and visual trickery. The charming mix use of muted and lush palettes of Heidi Sue McMath’s costume designs provided just enough visual punch without losing the traditional touch of Victorian England garb. Contrastingly delving fiercely into the realm of Scrooge’s visiting spirits, McMath assembles looks of a Lady Gaga/Liza Minnelli red carpet affair; a personified, propagating Tannenbaum; and the soul-sucking menace of a Rowling-Dementor-meets-Henson-Skeksis. And the cinematic sound design of Richard Woodbury creates palpable layers of emotional sustenance, fervidly transporting the audience from beginning to end.

After witnessing the transformation from holiday hooey to pure childlike innocence, I left the Goodman Theatre filled with Scrooge’s (or should I say Yando’s?) contagious holiday gratitude and cheer. It’s no wonder it’s been a Chicago holiday tradition now in its fifth decade, Goodman’s “A Christmas Carol” triggered the start of the holiday season in my heart!  

PHOTO| Liz Lauren

Goodman Theatre
presents
Charles Dickens’
A Christmas Carol
through December 31

WEBSITE
(312) 443-3800
TICKETS

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PICKSINSIX Review: NELL GWYNN

‘NELL GWYNN’ - FAST, FUNNY COMIC DELIGHT!

Based on the true-to-life story of the mistress of King Charles II, who rose from selling oranges on the streets and a life in the brothels of London’s West End, Jessica Swale’s uproarious comedy “Nell Gwynn” flips the historical script on politics, sex and society in an entertaining, large-scale production, the North American premiere of the Olivier Award-winning comedy now playing at Chicago Shakespeare Theater through November 4th.

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Christopher Luscombe directed the original 2015 London production that premiered at The Globe Theatre. The lavish production Luscombe has conceived on Navy Pier features the lively and thoroughly engaging performances of Scarlett Strallen and Timothy Edward Kane leading a seasoned top-flight company in a richly told, fast, funny comic delight!

Imagine the moment in mid-17th century London that women replaced men playing women on stage. That is essentially the defining moment in time around which everything else revolves for Nell Gwynn. Discovered by Charles Hart (John Tufts), leading actor in the King’s Company, Nell is recruited to play the woman’s roles, much to the disappointment of Edward Kynaston (David Bedella) whose stage career was defined by the female roles he played in the plays written by John Dryden (Christopher Sheard). Thomas Killigrew (Bret Tuomi), the manager of the company, takes an interest in furthering Nell’s career and soon she is the leading actress on the West End stage. Together with her sister, Rose (Emma Ladji) and dresser, Nancy (Natalie West) the story of Nell’s stage career, and a budding romance with Charles, begins to unfold.

King Charles II has returned from exile and, without regard for his Queen Catherine (Hollis Resnik, in one of two superb split roles, the other as Ma Gwynn), taken up with Lady Castlemaine (Emily Gardner Xu Hall, who also plays French mistress Louis de Kerouaille). As soon as he spots her, nothing can stop Charles from his quest for the alluring Nell, including the high-handed Lord Arlington (Larry Yando) his chief advisor who is determined to undermine the relationship.

If this all sounds like a serious Shakespearean history, think again. “Nell Gwynn” is a fresh, imaginative, comic treatment that is beautifully scored by Nigel Hess and choreographed by Amber Mak. Clever, modern references pop up in the most unlikely places throughout Scales delightful script. The over-the-top, riotously funny David Bedella, and the wily comic Natalie West, shoot from a quiver full of comic zingers all night long.  

Hugh Durrant designed an elaborate period courtyard and the exquisite costumes for this visually rich production. Richard Jarvie’s wig and make-up design are inspired as is Jermaine Hill’s superb music direction. Make a reservation now. You will fall in love with “Nell Gwynn!”

PHOTOS|Liz Lauren

CHICAGO SHAKESPEARE THEATER
Presents
NELL GWYNN
through November 4th
Navy Pier
800 East Grand Avenue
(312) 595-5600

WEBSITE

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PICKSINSIX Review: BURIED CHILD

“PAIN IS PAIN. PURE AND SIMPLE.”

Flawless performance … It’s raining in the Heartland, on a barren, lifeless parcel in East Central Illinois where the irascible Dodge, his petulant wife Halie and their dysfunctional sons are living out their tepid, worthless lives. The rain exasperates Dodge’s declining health which is fueled by Gold Star Sour Mash whiskey, nicotine, depression, anxiety, and guilt. It’s a formidable bag to unpack for Larry Yando, one of Chicago’s revered actors, whose flawless performance brilliantly anchors the Writers Theatre production of Sam Shepard’s 1979 Pulitzer Prize-winning play, Buried Child. This is a disturbingly dark, raw purposeful drama for which Writers Resident Director Kimberly Senior has assembled a top-flight cast and exposes the long-term effects of grief and remorse while delivering a powerful, one-two punch!

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Open wound … Perhaps there were better day’s years ago, when the farm was thriving and productive. Dodge and Halie (Shannon Cochran) raised three sons, Tilden (Mark L. Montgomery) and Bradley (Timothy Edward Kane), who are very much in the picture, and Ansel, who died unexpectedly and is not. The root cause of Dodge’s bitterness and the secret that is an open wound for the fractured family has now allowed their reality to erode completely.  Whatever bounty that once existed outside the ramshackle house is now a wasteland. Tilden, has slinked back from New Mexico, penniless and broken. Bradley, an amputee from an encounter with a chainsaw, is steeped in resentment. And Halie, who has now taken a fancy to Father Dewis (Allen Gilmore), lives in a tortured, twisted reality that almost appears normal compared to everyone else even as she chimes in from the bedroom upstairs, “Pain is pain. Pure and simple.” There is a lot of that to go around.

Gut-wrenching climax … Things take a turn when grandson Vince (Shane Kenyon) and his girlfriend Shelly (Arti Ishak) arrive on their way to see their father in New Mexico when they realize that Tilden has come back home. Nobody seems to recognize him, which is at the heart of the story leading to a gut-wrenching climax that will leave you stunned. 

Commanding presence … Yando’s commanding presence spews forth effortlessly, whether he is alone on stage or amid the chaos that is unfolding around him. Cochran’s manic sensitivity intersects perfectly with the powerhouse supporting performances of Montgomery and Kane. Kenyon deftly navigates a challenging role. Ishak’s unsettling panic is palpable.

Hauntingly bleak … The imposing Jack Magaw set design, with a jutting second story framed with partially opaque exits in all directions, is hauntingly bleak when paired with Heather Gilbert's rich lighting, Mieka van der Ploeg's costumes, and sound design by Mikhail Fiksel. Scott Dickens props crew is working overtime to stay ahead of the mayhem.

The takeaway … considering the title, this is an adventure. It’s like Dodge says: “Much better to not know anything.” You'll certainly be husked.

PHOTOS|MICHAEL BROSILOW
WRITERS THEATRE
Presents
BURIED CHILD
through June 17th
325 Tutor Court
Glencoe, IL
(847)242-6000

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PICKSINSIX Review: A CHRISTMAS CAROL

"Founder of the Feast - Mr. Scrooge."

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What’s it about... this is the 40th anniversary production of Charles Dickens A Christmas Carol at the Goodman Theatre, adapted by Tom Creamer and directed by Henry Wishcamper about the life and times of Ebenezer Scrooge and the very special Christmas eve journey he takes with three spirits who show him the errors of his way and a path to salvation.

Why You Should Go... Larry Yando is brilliant as Scrooge, transforming from miser to free spirit in a masterful performance. Ron Rains is a perfect fit for Bob Cratchit and steller turns by Ali Burch (Frida), Molly Brennan (Ghost of Christmas Past), a chilling Joe Foust as Jacob Marley, and Lisa Gaye Dixon (Ghost of Christmas Present) stand out in the sterling supporting cast.

Who to Watch and Wait For... Paris Strickland makes a very moving debut as the first female Tiny Tim... the entertaining party scenes with your hosts, Penelope Walker(Mrs. Fezziwig) and Jonah D. Winston(Mr. Fezziwig).

Music and Merriment is Everywhere especially in the strolling musical transitions provided by Justin Amolsch, Andrew Coil, Greg Hirte and Malcolm Ruhl. With one of the most impressive scenic and lighting displays you will ever see, this high-flying show is a surefire, whimsical adventure.

A Holiday Tradition... there is something very satisfying about returning to the Goodman Theatre during the holidays. For the young at heart, who may be experiencing Scrooge for the first time, it is a truly magical evening. For the rest of us, it is a chance to escape to another time and be reminded that, no matter what, we can all change for the better.

A Special Night... the opening night audience was filled with cast and crew members from previous productions in celebration of the 40th anniversary. The Goodman Theatre, like others throughout Chicagoland, are now taking donations for Season of Concern, to support those suffering from catastrophic illness.

Photos|Liz Lauren

Related: Listen to our 2016 PODCAST with Steve Scott

40th Annual Production
A CHRISTMAS CAROL
Goodman Theatre
through December 31, 2017
170 North Dearborn
Chicago, IL 60601
Website
Tickets
(312) 443-3800

SEASON OF CONCERN
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