PicksInSix Review: FALSETTOS - TimeLine Theatre Company - Court Theatre

“Things Rarely Go According To Plan.”
PicksInSix® Gold Review | Ed Tracy

The flawless production of “Falsettos”—one of the most enjoyable, heartfelt and moving productions you will ever see—opened Saturday in the intimate Abelson Auditorium at Court Theatre. The show is directed by TimeLine co-founder and Associate Artistic Director Nick Bowling and presented in partnership with Court.

“Falsettos,” a two-time 1992 Tony Award-winning musical, has a fascinating origin story. With music and lyrics by William Finn and a book by Finn and James Lapine (Into The Woods), it began in 1979 as Finn’s—and Playwrights Horizon’s—first musical “In Trousers” about the trials and tribulations of Marvin, a gay Jewish man coming out and presented in, what was then, the unique and evolving sung-through format.

In 1981, Finn teamed with Lapine on “March of the Falsettos”—which later became the first act of “Falsettos.” Set in 1979, the story begins as Marvin and his wife Trina separate on the news that Marvin is moving in with his male lover, Whizzer. In an attempt to keep Trina and their young son Jason together as a family, Marvin steps up sessions with his therapist Mendel. When Mendel falls for and marries Trina, Marvin’s possessive and passive-aggressive nature impacts his relationship with everyone, including his pre-Bar Mitzvah son who begins questioning his own sexuality. Marvin’s need for a monogamous relationship with the more free-wheeling Whizzer leads to the breakup, and although Marvin is inconsolable, he has matured and become better able to relate to Jason when his son needs him most.

It's important to note that “March of the Falsettos” is set prior to the widespread awareness of HIV or AIDS and deals, often hilariously, with the complex dynamics of the personal relationships and acceptance of the changing social norms of the time.

Following the explosion of the AIDS crisis, Finn and Lapine returned in 1991 to pen “Falsettoland” which will become Act II of “Falsettos.” Set a year later in 1981, when the family is moving on while Marvin still yearns for Whizzer, who reenters his life and rekindles the relationship. Two additional characters are introduced—Dr. Charlotte and her lesbian lover, Cordelia—who live next door and become fast friends with Mendel, Trina and Jason. It is Dr. Charlotte who recognizes that ‘something bad is happening’ and it is not long that “Falsettoland” takes on a whole new powerful storytelling line all its own.

Bowling, movement director William Carlos Angulo and music director Otto Vogel have assembled an amazing cast. In the role of Marvin, Stephen Schellhardt displays an extraordinary range of emotions teetering between the need to be loved and respected and the frustration, resentment and rage he feels from and toward the family he desperately wants to salvage. Jack Ball expertly plays Whizzer, the carefree gay man with needs of his own, who is quick to recognize that Marvin may want more from him than he is willing to give but later reconciles with Marvin in a way that is moving and real, particularly as he is forced to face his own mortality. .

Sarah Bockel’s Trina tugs endlessly at our heartstrings. She is an open book of emotions, channeling both keen comic sensibilities and a enormous capacity for empathy. Jackson Evans gives a terrific multi-faceted performance as the intellectually neurotic Mendel, savoring every comic moment with child-like enthusiasm while expertly delivering the more serious interchanges with Bockel and Jason (Charlie Long, who alternates with Eli Vander Griend). Long is a superb young talent and in step, stride for stride, with everyone on stage. Sharriese Hamilton is perfect as the compassionate Dr. Charlotte and partner for Cordelia, played beautifully by Elizabeth Stenholt, who round out the company of gloriously nuanced voices who deliver this fast-paced, challenging score with precision and ease.

Amel Sancianco’s scenic design ingeniously places the band shrouded on the second level within the multi-colored stage wall that is highlighted by three doors and an oculus window that is utilized effectively throughout the show. The open style chessboard tile floor plan serves to magnify one of the main themes and allows for effortless scene changes which keep things moving along briskly. Lighting and sound designs by Maggie Fullilove-Nugent and Stephanie Farina and period costumes by Teresa Ham are all excellent.

For those of us who lived through this period, TimeLine’s “Falsettos” is a moving tribute to the memory of all who passed and renews our commitment to those whose lives have been immeasurably changed. For everyone else, it serves as a reminder of the importance of cherishing our relationships and instills in us a better understanding of the universal power of love, kindness and acceptance.

PHOTO|Michael Brosilow

Editors Note: The TimeLine alliance with Court follows critically-acclaimed productions of “OSLO” and “The Lehman Trilogy” with Broadway in Chicago and the recent transfer of the stunning production of Tyla Abercrumbie’s “Relentless” to Goodman Theatre in 2022. TimeLine’s Artistic Director PJ Powers has tapped into an excellent model that requires a long view for the future, the coalescing of like-minded theatre administrators and boards willing to take a sizable financial risk, and mining sufficient sponsor and donor funds for the arts in a very tentative post-pandemic production climate. That long view applies to just about every facet of the arts right now with no better example and track record of unqualified success than TimeLine Theatre Company. While construction continues on the new center for theatre, education and community engagement at 5035 N. Broadway slated for a 2026 opening, the current season is being staged in partnership with institutions across Chicagoland. “Falsettos” is the first of three such partnerships that will continue next year with The Theatre School at DePaul University and Writers Theatre in Glencoe. For more, read TimeLine’s excellent BACKSTORY publication available online here.

TimeLine Theatre Company
and Court Theatre
present
FALSETTOS

EXTENDED
through December 15, 2024

Court Theatre
5535 S. Ellis Ave
Chicago, IL 60637

WEBSITE

PROGRAM

BACKSTORY

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PicksInSix Review: Jim Henson’s Emmet Otter’s Jug-Band Christmas

Delightful Holiday Treat for All Ages!
PicksInSix® Review | Guest Contributor | Kaitlyn Linsner

The stars of this show—Ma, Emmet Otter and a darling group of critters—have been warming the hearts of many for over fifty years. They first appeared in an illustrated 1971 children’s book by Russell Hoban and Lillian Hoban. Jim Henson then brought the book to life in a one-hour 1977 television special featuring puppets from his Creature Shop and a delightful score from Academy Award-winning songwriter Paul Williams. Folks fell in love, and now, old fans, and anyone looking for 75 minutes of sheer joy, can visit the Studebaker Theatre for the charming holiday celebration that is the live theatrical adaptation of “Jim Henson’s Emmet Otter’s Jug-Band Christmas” with music and lyrics by Williams, book by Timothy Allen McDonald and Christopher Gattelli, who directs and choreographs.

This is the Chicago premiere of “Jim Henson’s Emmet Otter’s Jug-Band Christmas” and should not be missed when planning this year’s holiday festivities. The story follows Ma and Emmet Otter who so badly want to buy each other the perfect Christmas gift. Ma (Kathleen Elizabeth Monteleone) wants to buy Emmet (Andy Mientus) a guitar, and he wants to buy Ma a piano. You see, these two come from a family enriched with musical talents and traditions—Ma with her lovely singing voice, and Emmet with his own set of pipes and a mean rhythmic streak on the washboard bass. Problem is, they don’t have enough money to buy these special gifts for each other. So, when the mayor of nearby Waterville announces the town will be having its first annual talent show, Ma and Emmet decide to take their chances at entering and vying for that first-place prize of fifty dollars.

Turns out Ma and Emmet Otter are up against some stiff competition. Toward the end of the production, the audience becomes the patrons of the inaugural talent show and get to see humans and puppets alike showcase their talents. The magnificent Madame Squirrel (Sawyer Smith) delights in a performance with acrobatic squirrels. Mrs. Mink (Sharriese Hamilton) heats up the stage with a wildly entertaining burlesque performance, and we cannot forget a skunk on a tuba and tap-dancing rabbits.

At the core of “Jim Henson’s Emmet Otter’s Jug-Band Christmas” is true enchantment. Each scene bursts with charm, clever humor and whimsical visuals. Take, for example, the costumes by Gregg Barnes and the makeup by Megan E. Pirtle. The costumes, like Madame Squirrel’s playfully large tail and Wendell Porcupine’s quills (Steven Huyhn), and the makeup both do well to transform the cast into their cute furry characters on Anna Louizos whimiscal set.

The puppetry, though, is what takes this family-friendly musical to the next level of creative, good fun. There are many laughs to be had when a band of squirrels tries to grow an evergreen tree in the winter by blowing hot air on it. There are also big feelings to be felt when puppet Pa Otter, deceased, appears to tell Ma to never stop dreaming and when that same band of squirrels advises Emmet to follow his heart and take flight. The opening-night audience audibly reacted in wonder when the puppet jug band practiced in a tree house, which looked exactly like the scene in the television special. The Jim Henson way of blending both worlds together worked seamlessly on stage and truly elevates the production.

Jim Henson’s Emmet Otter’s Jug-Band Christmas with music and lyrics by Paul Williams, book by Timothy Allen McDonald and Christopher Gattelli, directed and choreographed by Christopher Gattelli. Now playing at Studebaker Theatre through December 31, 2023.

Of course, there are also plenty of themes and lessons that make “Jim Henson’s Emmet Otter’s Jug-Band Christmas” a true holiday classic. Ma and Emmet Otter show us how to heal together after experiencing loss. We see bravery and growth in characters learning to trust themselves and each other when facing challenges. We also get to experience a show filled with so much love, which, in and of itself, is enough of a reason to join everyone in Frogtown Hollow and Waterville this season.

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

PHOTO|Michael Brosilow

ITheatrics with Broadway & Beyond Theatricals,
in association with the Jim Henson Company
presents
Jim Henson’s Emmet Otter’s Jug-Band Christmas
Music and Lyrics by Paul Williams
Book by Timothy Allen McDonald and Christopher Gattelli
Directed and Choreographed by Christopher Gattelli

Studebaker Theatre
Fine Arts Building
through December 31, 2023

WEBSITE
TICKETS

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PicksInSix Review: THE WATSONS GO TO BIRMINGHAM - 1963

SUPERB ENSEMBLE, STORY DRIVE POIGNANT ‘WATSONS’

Christopher Paul Curtis’s 1995 historical novel, The Watsons Go To Birmingham – 1963, the source material for Cheryl L. West’s remarkable new play, now in a world-premiere production at Chicago Children’s Theatre, recounts the travels of the African-American Watson family on a road trip from Flint, Michigan into Birmingham at one of the turning points of the civil rights movement: the Sixteenth Street Baptist Church bombing on September 15, 1963, which caused the senseless murder of four young girls preparing for church services, ignited national outrage and galvanized efforts to support the 1964 Civil Rights Act.

Curtis’s work first came to the attention of director Wardell Julius Clark when he was a sixth grade student in Fairfield, Alabama, and it became a deeply personal story as his mother had longtime connections with the family of Denise McNair, one of the victims of the tragedy. West’s beautiful adaptation appeals to young and old with an insightful view of what happens when generational awareness intersects with childhood innocence. Clark’s carefully crafted production, infused with an evocative original score by Paris Ray Dozier, results in an atmosphere ripe for understanding and discussion about the serious emotional impact of racism on children. 

The Watson family story centers on the coming-of-age experiences of young Kenny Watson (Nelson Simmons), the smart and inquisitive middle child of Mama (Sharriese Hamilton) and Daddy (Bear Bellinger) Watson. The Watsons are loving, attentive parents, but become concerned when Kenny’s rebellious older brother Byron (Stephen “Blu” Allen) skips school with his pal Buphead (Ian Paul Custer) and tries to get Kenny to cover for him. So, Daddy and Mama pack up the “Brown Bomber” with the boys and their youngest daughter, Joey (Lyric Sims), and head off for Birmingham to deliver Byron to live with his Grandma Sands (Deanna Reed-Foster).

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Mama has carefully planned a three-day excursion, but Daddy decides that it will be better for everyone if they stop along the way as little as possible. This presents logistical problems, of course, and also allows for a disturbing confrontation to occur along the way. Upon arrival, Grandma Sands waits with open arms—and a dire warning that ultimately proves to be a bonding experience for the young boys and sets the stage for a series of skillfully executed moments of drama later on.

The family relationship that the two fine actors Hamilton and Bellinger create together and with their children is touching and real. As the narrative voice of the play, Simmons’s Kenny relates to every young person who struggles to cope with events as they unfold, aided by the fine work of Allen as the self-centered older brother who has his own issues. Sims is as disarmingly sweet in the role of the youngest Watson as Reed-Foster is as Grandma, with the talented Custer playing multiple roles. Scenic design by Arnel Sancianco, with lights by Jason Lynch, costumes by Izumi Inaba, sound by Kevin O’Donnell and projections by Smooch Medina evoke the open highway for the trip to Birmingham and events in the youthful experiences that Kenny tries to process and overcome.

Opening a door for discussion with children of all ages, the Watson family in West’s moving production bursts with heart and understanding–as when providing comfort to Kenny, Grandma compares the strength of family to endure hardships like the roots of trees that “no matter what’s coming at ’em, keep these trees standing strong and standing tall for years on end”—one of many valuable lessons that run deeply through this poignant work.

Casting Note: Jeremiah Ruwe (Kenny) and Jillian-Giselle (Joey) share performances for this production.

PHOTOS|Charles Osgood

CHICAGO CHILDREN’S THEATRE
Presents
THE WATSONS GO TO BIRMINGHAM —1963
weekends through May 19th
The Station
100 South Racine Avenue
(872) 222-9555

WEBSITE
TICKETS

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PicksInSix Review: A Gentleman's Guide To Love & Murder

“WHY ARE ALL THE D'YSQUITH’S DYING?”

When Porchlight Music Theatre’s production of “A Gentlemen’s Guide to Love & Murder” opened on Tuesday night, the temperature outside was a cool 12 below and the windchill off the lake was predicted at 40 below overnight. The fearless souls who filled up the Ruth Page Center for the Arts were rewarded mightily, each one a witness to the enormously talented Matt Crowle, turning up the heat on stage and masterfully dispensing his eight assigned lives with gleeful assistance from the scheming Monty Navarro, a terrific role for Andrés Enriquez, in the murderously comic, rags to riches heir-to-be-Earl ascension story that won the 2014 Tony Award for Best Musical.

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Stephen Schellhardt’s brilliantly directed and choreographed ensemble, with musical direction by Andra Velis Simon, includes bell-ringing performances from the poised and perfect duo of Emily Goldberg as Sibella Hallward and Ann Delaney as Phoebe D’Ysquith, Monty’s two competing love interests, whose big, beautiful voices are every bit a match for the challenging demands of the Steven Lutvak opera-infused score.

Robert L. Freedman’s book, based on a novel by Roy Horniman, centers around members of the ruling class and the plight of an heir to the D’Ysquith family (Enriquez) whose disavowed, and recently deceased, mother leaves behind letters and a birth certificate confirming his lineage. There is some devilish foreshadowing early on by Miss Shingle (the delightful Caron Buinis) that makes it clear that Monty will have to secure his own standing in society, and with it a considerable fortune, if he is to win the hand of his social climbing love Sibella (Goldberg). Immediately rejected, Monty hatches a plan to move up the family tree by sending everyone else down under. In no time at all, everyone is singing, “Why are all the D’Ysquith’s dying.”

All of those D’Ysquith’s are portrayed by the superlative Crowle, a skilled actor, comedian, dancer and singer and one of Chicago’s top talents in each of those categories, who conducts a master class in comedy in a performance that everyone will be talking about for a long time. It’s one madcap musical adventure after another. At one astonishing moment, as the scene closes on the death of a D’Ysquith, Crowle magically appears through a door dressed as another.

The small in numbers cast plays much larger than it is with over 80 magnificent Jeff Handy costume changes and loaded with singers and dancers who play multiple roles featuring Rachel Klippel (Miss Barley) and Michael Reyes (Chief Inspector Pinckney), with Megan Elk and William Dwyer. And while everyone has their hands in this delectably comic pie, Sharriese Hamilton’s Lady Eugenia stands toe-to-toe with Crowle’s Lord D’Ysquith at the dinner party in a comic confrontation that is one of the most hilarious sequences you will ever see.

Angela Weber Miller’s whimsical set design, with Denise Karczewski’s lighting design and a series of artful projections by Anthony Churchill, showcase the versatility of the Ruth Page space and create picture perfect settings to follow the (not so) cunning Monty from a dark and dreary dungeon to the upper most crusty crust of society, meeting a succession of wacky D’Ysquith’s until the poison in his pocket finds a new home and, well, who wants to know the ending of a good old fashioned murder mystery musical before they see it for themselves.  

PHOTOS|Michael Courier

PORCHLIGHT MUSIC THEATRE
Presents
A GENTLEMAN’S GUIDE TO LOVE AND MURDER
through March 16th
THE RUTH PAGE CENTER FOR THE ARTS
1016 North Dearborn
(773) 777-9884
WEBSITE
TICKETS

(Revised 1/31/19)
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PICKSINSIX Review: 9 TO 5 THE MUSICAL

‘9 TO 5’ IS A HOOT!

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Clever, funny, inspiring … After setting The Den’s Bookspan Theatre ablaze with their first-ever production of LIZZIE last fall, Firebrand Theatre returns with a rousing production of 9 TO 5 THE MUSICAL. Firebrand’s Artistic Director Harmony France has assembled a terrific, multi-talented ensemble who double as musicians and just about everything else from office workers to forest creatures. It’s clever, funny, inspiring and what’s more, this ‘9 TO 5’ is a hoot! 

The more things change … The high jinks of  the Broadway version of this show felt more frivolous musical comedy and less like the 1980 film that energized a movement or the transformational Firebrand edition now playing on North Milwaukee Avenue. It is a story about three women who face personal and professional challenges in the workplace brought about by a despicable, sexist employer. On the way home you will be humming the familiar tunes and thinking that the more things change, the more they stay the same.

A cogent parable … 9 TO 5 THE MUSICAL has become a cogent parable for our times and France's insightful approach speaks to the core Firebrand philosophy, that of empowering gender equality on and off the stage. There are clear creative choices throughout -- 'One of the Boys' being a prime example -- that strengthen the overall message of inclusion while at the same time delivering laugh-out-loud entertainment. In the real world, of course, there are severe consequences for kidnapping your boss for a month, so think of it these days as more like musical comedy with the message that working together for change is always the best choice.

Formidable talent … In the role of Doralee, Sharriese Hamilton brings her formidable talent to bear as the assistant who is constantly being pursued by Scott Danielson’s loathsome Mr. Hart. Delivering a dynamic, full-range, performance is Anne Sheridan Smith as Violet, the rising leader of the pack. Judy is played with sensitivity and humor by Sara Reinecke. Once they all start busting up the old boy network, even the distrustful and devious Roz, a role that Veronica Garzas was destined to play, begins to crack. At the end of the day, it is clear that the work world is about to change for the better. 

What to watch and wait for … Musical Director Andra Velis Simon has added depth to the Dollie Parton score in familiar tunes like “9 to 5” … “Around Here” …“I Just Might” … “Backwoods Barbie” … “Heart to Hart” … “Shine Like The Sun” … “One of the Boys” … “Get Out And Stay Out”.

The Takeaway … it will take vigilance, many more adjustments of attitude at the top, a fostering of mutual respect, support and understanding, and flexible hours to effect change. When all else fails, a one-way ticket to Bolivia just might do the trick.

PHOTOS|Emily Schwartz

FIREBRAND THEATRE
Presents
9 TO 5 THE MUSICAL
Music and Lyrics by Dolly Parton
Book by Patricia Resnick
Directed by Artistic Director Harmony France
Music Direction by Andra Velis-Simon
through May 20, 2018

The Den Theatre|Bookspan Theatre
1331 N. Milwaukee Ave
Chicago, IL 60622
773-697-3830
WEBSITE  TICKETS

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