PicksInSix Review: Billy Elliot The Musical - Paramount Theatre

Billy Elliot: “It’s Showtime Baby!”
PicksInSix® Gold Review | Ed Tracy

What’s happening right now at Paramount Theatre in Aurora will not soon come this way again. “It’s showtime, baby!” Bring it on!

“Billy Elliot The Musical,” the Elton John/Lee Hall ten-time Tony Award winner with a long, rich love affair with Chicago, opened Friday in what can only be described as a phenomenal, electrifying production. As directed by Trent Stork and choreographed by Isaiah Silva-Chandley, this quintessential “Billy Elliot” features an enormously talented cast led by Ron E. Rains as Dad, Michelle Aravena as Mrs. Wilkinson and, on opening night, the arresting performance of Neo Del Corral as Billy Elliot, the young boy discovering his life’s passion in the midst of a tumultuous period of unrest as his small hometown north of London is embroiled in the 1984 coal miner’s strike.

The story unfolds amid a visual feast—adorned with Izumi Inaba’s costumes on scenic designer Michelle Lilly’s colossal sixty-foot-high steel-themed coal mine set with two-story moving stairway systems that are reconfigured to frame the evolving scenes moving effortlessly in sync with Greg Hoffman’s dynamic lighting design, Mike Tutaj projections and a crisp sound design by Adam Rosenthal.

The lovely and talented Aravena commands the stage in a fierce performance as the dance instructor who first discovers Billy’s true potential in ballet and fights for his opportunity to pursue a dream. Del Corral—who alternates the role of Billy with Sam Duncan—plays the 1,900 seat Paramount Theatre with extraordinary poise, presence and a strength of character that belies his years. And when Billy and his gay friend Michael (Gabriel Lafazan) get together, it’s showtime, baby! — a dynamic duo of pint-sized firebrands tap dancing and singing up a storm with a streak of sassy larceny a mile long in the show-stopping hit “Expressing Yourself.”

One of the most impressive ensembles ever assembled at Paramount includes many of Chicago’s most accomplished actors who cover the citizenry of life-worn miners opposed by an army of police along with a bevy of early career prima ballerinas all under the brilliant musical direction of Kory Danielson who conducts the Paramount Orchestra. Rains returns to a role he has played previously with a seasoned, passionate and superb multi-layered performance as Billy’s Dad. Barbara Robertson is exquisite as Billy’s endearing Grandma and Jennie Sophia is a beacon of purity as Billy’s Mum in the tender, emotionally charged ballad “The Letter” with Aravena and Del Corral.  Dakota Hughes (Mr. Braithwaite), Joe Foust (George), and Spencer Davis Milford (Tony) are all stellar, as is the stunning Swan Lake ballet with Billy and Older Billy (Christopher Kelley)— a work of art that utilizes the full range of the Paramount’s expansive stage.

The sheer grandeur of the closing moments of this production left me in awe and ranks as the most beautiful visual tapestry I have ever—repeat, ever—seen in a theatre. I am still thinking about it and how Paramount's stunning production of "Billy Elliot" will now occupy a permanent place in my memory box of this show.

PHOTO|Liz Lauren

PARAMOUNT THEATRE
presents
Billy Elliot The Musical
through March 24, 2024

23 East Galena Boulevard
Aurora, IL 60506

(630) 896–6666

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PicksInSix Review: Fiddler on the Roof - Drury Lane Theatre

Even “Old Ways Were Once New.” 
PicksInSix® Review | Guest Contributor | Kaitlyn Linsner

Drury Lane Theatre winds up its 2023/2024 season with a heartfelt production of the Tony Award-winning classic “Fiddler on the Roof” featuring music by Jerry Bock, lyrics by Sheldon Harnick and book by Joseph Stein. Set in the Pale of Settlement of Imperial Russia in 1905, this cherished musical centers on Tevye (Mark David Kaplan), an endearing milkman with five daughters, facing challenges to his Jewish religion and cultural traditions as change approaches the village of Anatevka. 

Director Elizabeth Margolius describes “Fiddler on the Roof” as a “memory play” and decided to approach the tale completely from Tevye’s memory. In the program notes, Margolius writes: “This new, evocative approach to Fiddler on the Roof puts the focus on the people in hopes of illuminating this story as never before and inspiring us to question who we are and what we will leave behind for future generations.”  

The minimal yet highly effective scenic design by Jack Magaw combined with the beautiful projection design of Mike Tutaj creates a deeply imaginative space for the audience to truly see the depths of the characters and the legacies that shape them. The projected images and video artfully transform the set to Tevye’s dreamscape in the musical number “The Dream” as he convinces Golde (Janna Cardia) that Motel (Michael Kurowski) is the right husband for their daughter Tzeitel (Emma Rosenthal). Kaplan and Cardia are an absolute delight. 

Other notable musical numbers include Kurowski’s spirited performance of “Miracle of Miracles” and the celebratory “To Life” by Kaplan, Lazar Wolf (Joel Gelman) and the company of villagers. Yael Chanukov shines as Hodel, and as a whole, the cast sings, moves and dances well together on stage with a warm chemistry. 

Fiddler on the Roof at Drury Lane Theatre Oakbrook through March 24, 2024.

Kaplan plays Tevye with excellent comedic timing and whimsy. He also skillfully portrays a father being tested by the actions of his three oldest daughters. The asks from his daughters become increasingly difficult (“unthinkable!”) as they each seek modern, non-arranged but different marriages. Tevye must grapple with first being asked for permission to marry, then his blessing and lastly only for his acceptance. Where does a father draw the line and what does the good book say about evolving relationships with those you love? 

Embrace these questions and more in this beloved show now playing through March 24, 2024 at the Drury Lane Theatre. 

GUEST CONTRIBUTOR | KAITLYN LINSNER is a Chicago-based attorney practicing construction and surety law.

PHOTO|Brett Beiner

Drury Lane Theatre
presents
Fiddler on the Roof
100 Drury Lane
Oakbrook Terrace
through March 24, 2024

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PicksInSix Review: Twelfth Night - Chicago Shakespeare Theater

“Twelfth Night” — Free-Spirited, Comic Gem!
PicksInSix® Review | Ed Tracy

Without a doubt, the astounding quality and resulting popularity of productions of Shakespeare’s work at Chicago Shakespeare Theater rests firmly on the theater’s decades-long artistic commitment to presenting work with universal clarity and understanding, multi-talented casts and purely whimsical staging. A large part of this artistic ethos has to do with the diversity of the massive audiences drawn to Navy Pier, a top Midwest destination attraction that offers a once-in-a-lifetime experience for visitors to Chicago and an endless stream of students whose trip to the magnificent Courtyard Theatre is often their introduction to both theater and Shakespeare.

So, it is no surprise that the opening of “Twelfth Night”—a free-spirited, comic gem directed by Tyrone Phillips—was enthusiastically received on Thursday night. Shakespeare’s celebration of the many facets of love, and its impact on who we are, takes on new meaning in Phillips adaptation which is at the same time true to the comic roots of the original and cleverly awash with 21st century references that fit together seamlessly. With Shakespeare’s robust characters bursting forth with purpose, passion and promise, Chicago Shakespeare’s “Twelfth Night” is clever, smart and a joy to watch from beginning to end.

Set in the Caribbean, the story revolves around the separation of shipwrecked twins Viola (Jaeda LaVonne) and Sebastin (Justen Ross) on the island of Illyria. In order to deal with the grief and abandonment that she is feeling with the supposed loss of her brother at sea, Viola disguises herself as a young man named Cesario and takes a position as page to Duke Orsino(Yao Dogbe). The Duke implores Viola(as Cesario) to become the intermediary for his love interest, the Countess Olivia(Christiana Clark) who is in mourning herself about the recent passing of her brother. While Viola finds herself falling hard for the Duke, Olivia, determined to shun the Duke, begins to woo Viola(as Cesario).

Olivia lives with her uncle Sir Toby Belch(Ronald L. Conner) who spends most of his time in drunken—and hilarious—merrymaking with his companion Sir Andrew Aguecheek(Alex Goodrich) along with Olivia’s gentlewoman Maria(Danielle Davis), Fabian(Shelby Lynn Bias) and the jester Feste(Israel Erron Ford).  The group’s brand of roguish behavior riles Olivia’s cynical steward Malvolio(Paul Oakley Stovall) into such a fit that the group conspires to deceive him into believing that Olivia is enamored with him. One comic situation follows another with love eventually conquering all.

The show is infused with a universal blend of contemporary hip-hop and reggae music by music director Robert Reddrick and movement director Sadira Muhammad that befits the storytelling. Philips and his creative team, led by scenic designer Sydney Lynne with costume designer Christine Pascua, have conceived a striking seaside atmosphere that transitions effortlessly from scene to scene. With extraordinary precision, the crystal blue Caribbean skies turn to a thunderous rainstorm in the blink of an eye and a nod to the evocative lighting design of Xavier Pierce, stunning projections by Mike Tutaj and an intricately charged sound design by Willow James.

It all feels like an expertly-crafted ensemble piece. LaVonne’s earnest and engaging Viola/Cesario is a delight. Sir Toby Belch and Aguecheek, two of Shakespeare’s most beloved comic foils, are played here by Conner and Goodrich with reckless comic abandon. Davis, whose sustained laughter is infectious, and the sublime vocals of Ford, round out the band of hooligans at the center of the comic subplot to upend Stovall’s staunchly priggish servant turned infatuated manic lover Malvolio—the brilliant and commanding performance of the night—all make “Twelfth Night” a show to see and enjoy!  

PHOTO|Liz Lauren

Chicago Shakespeare Theater
presents
TWELFTH NIGHT
Courtyard Theater
Navy Pier
through November 26

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PicksInSix Review: Toni Stone - Goodman Theatre

“…wide, tender eyes and knowing delivery.”
Ronald Keaton | Guest Contributor | PicksInSix® Review

“Why would I eat crackers in your bed?”  The character of Toni Stone asks this literal question of a prospective lover, as well as other hugely unconventional issues in Lydia R. Diamond’s sparkling, creative play “Toni Stone,” now playing at the Goodman Theatre. Stone is a historic figure who infuses her world with all kinds of sociological change, being the first woman to ever play on the field in men’s professional baseball… in this case, the Indianapolis Clowns of the Negro Leagues in the 1940s and 50s.

You may ask: “Why does the world not know more about her?” That is beginning to change with this expertly-crafted memory play that maps out Stone’s path in a pleasingly helter-skelter manner, allowing for a full and articulate explanation of who she is, what she wants, and how she gets there.  Doesn’t matter that it might be a tad confusing to some; that’s the nature of our memories, after all, and what they mean to our own histories.  Ms. Diamond has infused Toni Stone with an unflinching, iron-clad commitment to not only the game, but how she fits into it.  Her very first monologue talks of her own ‘reach’ through the ‘weight’ of the ball itself; she holds the ball for the audience as if it were her own child.  And in essence, that’s how committed, singular paths make their own mark.

The wonderful Tracey N. Bonner inhabits Toni Stone with a child’s longing, a woman’s continual feist against conformity, and an athlete’s endless vision.  Ms. Bonner presents someone absolutely on point in her feelings about baseball, almost obsessively so.  Stone is a baseball computer; she uses her knowledge of baseball players and statistics as a salving tool in constant recitative to survive what is thrown at her on the diamond by opposing teams and, indeed, the world at large.  The self-advocating side of Stone only serves to further strengthen the obvious calling that baseball was to her; Bonner offers this in wide, tender eyes and knowing delivery.  This is an actor’s masterclass in fully inhabiting one’s character in a show that I would see again and again.

There is much gorgeous work here. Jon Hudson Odom as the madam Millie is not only a soothing influence on Stone; we see from the actor a total calm and command from the get-go. As Stone’s lover and eventual husband, the marvelous Chiké  Johnson imbues his Alberga with a strong, yet quiet pseudo-Nick Arnstein presence for us to hold our collective breath, in his three-piece dark blue suit and habitual smooth.  The supporting cast portrays a rogue’s gallery of characters – mothers, bartenders, team owners, baseball players and coaches. The fabulous ensemble – Kai A. Ealy, Joseph Aaron Johnson, Travis A. Knight, Victor Musoni, Matty Robinson, Edgar Miguel Sanchez, Terence Sims, and Jabari Khaliq – use every Diamond phrase, both intellectual and profane, to full advantage in support of the storytelling.

The impressive Todd Rosenthal set design is a suggested baseball field – in fact, the name on it was Victory Field in Indianapolis, where this writer attended games as a child. Mara Blumenfeld’s costumes are simple and excellently functional for the character changes the ensemble are assigned.  Keith Parham designed soft layers in a variety of ever-moving lighting effects, effortlessly following the Toni Stone life road.  Andre Pluess and his period music/sound design literally inhabits Stone’s mind as they assist to buoy the script in those memories. And Mike Tutaj once again imbues his projections with touches of elegance and documentary-like effect (“Jack’s Tavern” the on-the road landscapes for the team).

Ms. Diamond has always been a favorite writer at the Goodman, and she’s earned it – a real Chicago treasure.  “Toni Stone” is among her best work.  And the celebrated director Ron OJ Parson has given this play and these actors a clear, accessible and fully non-conformist track that keeps up with Ms. Bonner’s inventive and keen actor/storyteller.  Everyone in this process, in fact, either is or became an expert storyteller.  The fact that it all comes through one of the most inventive characters written in a long time only magnifies the quality of every creative person involved here.

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL www.solochicagotheatre.com 

PHOTO|Liz Lauren

GOODMAN THEATRE
presents
TONI STONE
through March 20
Albert Theatre
170 N. Dearborn St.

(312) 443-3800

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PicksInSix Review: Andy Warhol In Iran - Northlight Theatre

Northlight’s ‘Warhol’ “Brings Home The Bacon!”
PicksInSix® Review | Ed Tracy

Iran in the 70s – a fight for political, moral and individual rights that led to targeted suppression of protests by a regime that wielded torture and fear as the rule of law. Fast forward nearly fifty years and women’s rights now take center stage in regional protests. Radical change in our time is both momentary and glacial. A single act of violence broadcast on social media ignites instantaneous worldwide condemnation, while the exhaustive search for truth and justice that follows moves at an exhaustingly slow pace.

Throughout the life and times of Andy Warhol from the late 40s until his death in 1987 at 58, every encounter was a rich story worthy of being told. If you experienced the work of the iconic pop creator/activist/artist/filmmaker firsthand, the repetition of Warhol’s single images were unavoidably captivating. Shades of Marilyn Monroe, Richard Nixon, and Campbell’s Soup. Films that captured the personal stories of his subjects, or nothing at all, always inquisitive, searching for the essence that makes each subject unique. In the telling, Warhol built a worldwide following, amassed wealth, influence, access and fame with a single superpower: his ability to observe.

Warhol’s adept skill and fascination with his subject’s uniqueness, that also nearly took his life, is a central theme of Northlight Theatre’s absorbing production of Brent Askari’s “Andy Warhol in Iran,” directed by Northlight’s Artistic Director BJ Jones. The byproduct of this fascinating piece is a broader understanding of who Warhol was as a person, told through monologues highlighted with fast-moving images that frame the fictional confrontation between Warhol, masterfully interpreted in a brilliant performance by Rob Lindley, and a young radical named Farhad, played superbly by Hamid Dehghami.

It is difficult to determine when the razor-sharp dialogue of Askari’s writing ends and the pinpoint pacing of Lindley’s seamless delivery begins. Given the show’s premise of a politically-motivated celebrity kidnapping, one might not imagine that the storyline would be deliciously layered with so many hilarious Warhol-esqe observations. To Lindley’s credit, he both feeds off of and into Dehghami’s frenetic obsession to further his group’s cause by way of Warhol’s fame. The cause of Farhad’s pain at the hands of Iran’s torturous and oppressive regime is very real. Askari’s script exploits Warhol’s astute and inquisitive nature to disarm his potential captor and Lindley skillfully knocks it out of the park. The result is a free-flowing narrative of discovery that, along the way, retells Warhol’s early years in Pittsburgh, tumultuous relationships, a near-death experience that altered his life forever and his personal view on a range of topics from capitalism to life and death. On the former, it’s like he always says: “You gotta bring home the bacon!” To the latter, he muses: “Dying is not hard; it’s the waking up part.”

Dehghami, an accomplished Iranian actor and recent MFA graduate of Northwestern University, evokes a generation of college students caught up in the political turmoil of the era that would lead to their expulsion from academic communities across the United States. That brief, but powerful, intersection with western culture, was the single act for that generation, prompting life-alerting choices of family and freedom for countless Iranians who oppose tyranny.

Set in a suite at the Royal Tehran Hilton smartly designed by Todd Rosenthal, the room serves as an oasis of the decadence of the period where Warhol discovers perhaps for the first time what the world view of his work truly means to those who exploit it for their own means. Mike Tutaj’s riveting historical projections are enhanced by the collaborative sound design of Andre Pluess and Forrest Gregor. But it is Lindley’s crisp, clever and measured approach that pours out and will ignite the inevitable conversation about Warhol’s vast complexity.

PHOTO|Michael Brosilow

NORTHLIGHT THEATRE
presents
ANDY WARHOL IN IRAN
North Shore Center for the Performiing Arts
9501 Skokie Blvd.

through February 19, 2023

WEBSITE

(847) 673-6300

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PicksInSix Review: Gem of the Ocean - Goodman Theatre

“GEM” – “Better To Die In Truth”
By ED TRACY | PicksInSix®

There is both dazzling beauty and gritty realism in the Chuck Smith directed production of August Wilson’s “Gem of the Ocean” that opened on Monday at Goodman. Set in the Hill District of Pittsburgh in 1904, chronologically the first in Wilson’s Century Cycle series although written and produced two years before his death at 60 in 2005. “Gem” premiered at Goodman Theatre in 2003 and debuted on Broadway a year later.  

With an eye-popping, highly-stylized Linda Buchanan set enhanced by Mike Tutaj projections, this artful production must look markedly different than its predecessors. Comparisons will no doubt be made, but having never seen this show myself, I will simply state that I am particularly privileged to experience it for the first time at the Goodman, whose rich history is inexorably linked to the playwright himself. History works here on so many fascinating levels. With a powerful, seasoned cast, “Gem” is must-see theatre.

This is a drama about a drifter named Citizen Barlow (Sharif Atkins) who is riddled with guilt that is devouring his soul. Citizen is taken in for spiritual absolution by the ageless Aunt Ester (Lisa Gaye Dixon) and surrounded in the safe haven of her residence at 1893 Wylie Avenue by Ester’s caretaker Eli (A.C. Smith) and Black Mary (Sydney Charles). The sinister constable Caesar (Kelvin Roston, Jr.) who is Black Mary’s brother, has Ester in his sights while promoting fear and viciously prompting violence against the poor and destitute workers who cannot rise above the oppression and poverty of the times. A stolen bucket of nails from the mill leads to a falsely accused Black man who chooses to take his own life instead of living a life that would surely brand him a criminal. His death sparks a protest by the workers that is threatening the future of the community.

It is Eli, with Solly Two Kings (James A. Williams) and Rutherford Selig (Gary Houston), who help Citizen understand the challenges he is facing and the dangers of being Black in America. He is attracted to Black Mary and through his journey to the City of Bones, has a spiritual awakening. However, the constant threat posed by Caesar to anyone stepping outside the narrow boundaries of his representation of the law leads to a dramatic confrontation. It is this dynamic that leads Ester to try to protect those close to her from harm, with dire consequences.

Light, shadows and special effects enhance Evelyn Danner’s costumes in this stunning production. The probing original music and sound suite by Pornchanok (Nok) Kanchanabanca creates an atmosphere so profound that, at times, you could hear a pin drop in the Goodman’s Albert. It is in those moments that August Wilson’s brilliance resonates with a level of emotion that can only be experienced in the theatre.

I am constantly assimilating the interconnections of the Century Cycle and never pass up an opportunity to add to my understanding of August Wilson’s masterwork. Nor should you. The Chicago theatre community includes legacy directors, actors and other theatre artists who are layering their own contributions and mining stories exposing racism and social injustice. “Gem” presents unsettling truths about the Black experience and ponders the question: “What good is freedom if you can’t do anything with it?” which beckons the broader dialogue we so desperately need to influence attitudes and eliminate negative stereotypes and opinions.  

PHOTO|Liz Lauren

Goodman Theatre
August Wilson’s
GEM OF THE OCEAN
through February 27

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PICKSINSIX Review: LEGALLY BLONDE

‘LEGALLY BLONDE’ “SISTERHOOD. IT’S FOREVER!”

A champion we can believe in… Elle Woods, the fashionista-turned-law-school-student-turned-goddess in “Legally Blonde,” is a champion we can believe in to succeed at every turn. One of those turns — a dramatic and inappropriate confrontation with a professor — may jolt you like it did everyone I sat next to in a recent matinee. But Elle (the shimmering Casey Shuler) sends a defiant message to Callahan (James Rank) in that moment, firmly standing her ground. It’s powerful stuff and with a mantra like: “Sisterhood. It’s Forever!” there is no doubt that the underlying message of this new age edition has crystalized in the hands of Director Trent Stork. For “OMIGOD!” so many reasons, the Paramount Theatre production of “Legally Blonde” is a monster must-see hit!

"LEGALLY BLONDE" starring Casey Shuler now playing at Paramount Theatre through October 21st. TICKETS

Effervescent romp… There may be no more timely musical on stage in Chicago at this moment than “Legally Blonde.” The rollicking 2007 pop anthem for female empowerment with music and lyrics by Laurence O’Keefe/Nell Benjamin and book by Heather Hach is an effervescent romp that will make you giddy enough to accessorize in pink, get a dog of your own and get into Harvard Law School. (Good luck with that last one!)

Amazingly versatile company… Pursuing what she believes is her endless love, Elle hopelessly yearns for Warner Huntington III (Tyler Lain) the elitest boyfriend who dumped her and took up with Vivienne Kensington (Jacquelyne Jones) who is a bit of a snob. Elle finds that there is more to being accepted than just getting into Harvard. Along the way, she meets Emmett Forrest (Gerald Caesar) an earnest student mentor who sees Elle for herself. The amazingly versatile company includes a terrific Greek Chorus following Elle’s every move led by Serena (Lucy Godinez), Margot (Sara Reinecke), and Pilar (Kyrie Courter) who shake the pillars and rock the house.

Paramount Theatre production of “LEGALLY BLONDE” now playing through October 21st. TICKETS

Pump-It-Up… In the sidetrack to the main story, Paulette (Sophie Grimm) is a hair stylist who enlists Elle and Emmett’s support to retrieve what is rightfully hers. Paulette gets some advice of her own to help break out of her shell in “Bend and Snap.” When the murder mystery points to Brooke Wyndham – the electric, ‘Pump-It-Up!’ workout number “Whipped Into Shape” by Jenna Coker-Jones – things start to go into hyperdrive all the way to the show-stopping courtroom scene “There! Right There!” Featured performances abound but watch for the debonair UPS guy Kyle B. O’Boyle (James Doherty), Carlos (Yando Lopez) a key witness, and a couple of lovable canines named Bruiser (Frankie) and Rufus (Romeo) the two rescue-dog stars.

Top-flight production team… Director Stork, who also choreographs with Megan E. Farley, has assembled a top-flight production team that includes Jeffrey D. Kmiec (Scenic), Theresa Ham (Costumes), Mick Belley (Lighting), Mike Tutaj (Projections) and Adam Rosenthal (Sound). Music Director Kory Danielson conducts the impressive orchestra, so, in short, as the kids say: “OMIGOD! OMIGOD, You Guys! GO!”

PHOTOS|Liz Lauren
VIDEO|Paramount Theatre
Originally Published: September 29, 2018
Revised: October 1, 2018

PARAMOUNT THEATRE
Presents
LEGALLY BLONDE
through October 21st
23 East Galena Boulevard
Aurora, IL
(630) 896-6666

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PICKSINSIX Review: HAVING OUR SAY

COLLECTIVE MEMORY OF JOY AND SORROW

Sweeping narrative ... In the opening moments of Emily Mann's Having Our Say: The Delany Sisters’ First 100 Years, Bessie and Sadie Delany gather us up in the living room of the Mount Vernon, New York home they have lived in since 1957 and begin a conversation that takes us on the fantastic journey of their lives together. There are powerful resonant truths, sadness, and abundant humor in director Chuck Smith’s inspiring production, now playing at the Goodman Theatre. The consummate performances by Ella Joyce and Marie Thomas tell a sweeping narrative about racial inequality in America and overcoming adversity with grace and dignity.

A beehive of people … The year is 1993. The Delany Sisters - Bessie(Joyce), at 101 and Sadie(Thomas), at 103  - were 19 and 21 when Haley’s Comet streaked by in 1910. They saw it again in 1986. The two are delightfully entertaining together, finishing sentences and picking playfully at each other as siblings do. Sadie, who used a sort of beguiling charm to make her way through life, is balanced by the speak-your-mind activist that Bessie came to be. They learned discipline, manners, economics and the importance of education from their parents, and were surprised that their beloved father - who was born a slave and became the first African American Episcopal bishop - left out key parts of the Bible when he read it to them. Moving to New York City together in 1917, the sisters settled into ground-breaking professional careers and the pace and excitement of “a beehive of people” in Harlem. Nights were spent at Small’s Paradise associating with the likes of Ethel Waters, Cab Calloway, Duke Ellington, Lena Horne, Paul Robeson and others.

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Smith’s 25th season …  Following a 1991 New York Times article by Amy Hill Hearth, the Delany story emerged in a book published in 1994. A year earlier, director Chuck Smith began a long and distinguished career with Goodman Theatre. Smith's unique and powerful storytelling vision allows Joyce and Thomas the full range to revel in the depth of the material, gliding through the fascinating dialogue as they prepare a special celebration to honor their father’s birthday. The Delany home feels richly intimate and familiar with Linda Buchanan’s magnificent turntable set design, striking costumes by Birgit Rattenborg Wise, Mike Tutaj’s stunning projection, and, sound and lights by John Culbert and Ray Nardelli.

Collective memory … Our lives are measured in milestones – birthdays, anniversaries, professional accomplishments – and yet it is our collective memory of joy and sorrow and the people who influenced and sustained us through those times, that truly matter. Lucky for us that the right questions were asked all those years ago and that someone was listening. If you are fortunate to have had a conversation already about family legacy and cultural heritage, you know how important that gift is from one generation to the next. If not, remember the Delanys had their say after turning 100, so it is never too late.

Help somebody … We will never know whether their presidential predictions for the future truly fell short, or what influence the 1991 article, book, play and film may have had on the course of events that followed. Either way, the secret to a long and satisfying life might best be summed up by Sadie’s advice that “your mission is to help somebody”... and to be sure your diet includes seven different vegetables a day, vitamins, yoga, a big meal at lunch, milkshakes ... and a lot of love.

PHOTOS|LIZ LAUREN

GOODMAN THEATRE
Presents
HAVING OUR SAY
THE DELANY SISTERS' FIRST 100 YEARS
through June 10th
170 North Dearborn
312.443.3800

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