Displaying items by tag: Jon Michael Hill

Steppenwolf Theatre Company’s, Windfall arrives with all the promise its pedigree suggests. Written by Academy Award–winning ensemble member Tarell Alvin McCraney and directed by Awoye Timpo, the production aspires to be a pulsing, lyrical meditation on grief, justice, and the uneasy intersection of activism and capitalism. What unfolds instead is a work rich in intention but frustratingly elusive in execution.

The play centers on a protest encampment that erupts into violence, culminating in the shooting of Eli, a member of Never Wrestle Justice - a group of activists unafraid to raise their voices. In the aftermath, Marcus (Glenn Davis), who has transitioned, lingers alongside his aging adoptive father, Mr. Mano (Michael Potts). Mano is left reeling, unable to fully accept the reported death of his child, Eli (Esco Jouléy). It’s a potent premise: a father who refuses to confirm his child’s death, a government eager to offer a financial settlement, and a moral dilemma that questions whether survival can - or should - be measured in dollars. Tarell Alvin McCraney frames the story as a “chosen family” drama, but the emotional foundation never fully coheres.

Marcus urges Mano to identify Eli’s body and accept the settlement, arguing that “blood money is still money.” Yet Mano resists, clinging to the unbearable ambiguity of loss. The arrival of various state representatives - played with dynamic range by Alana Arenas as First Lady, Miss Second, and The Last One - pushes the narrative into increasingly surreal territory. These figures, along with Jon Michael Hill and Namir Smallwood in multiple roles, embody a bureaucratic machine that is at once apologetic, predatory, and opaque.

There are flashes of McCraney’s signature lyricism, particularly in the spectral appearances of Eli. Whether ghost, memory, or manifestation of guilt, Eli’s presence should anchor the play’s emotional core. Instead, it muddies the stakes. When Eli ultimately reappears - alive, defiant, and ready to fight - the revelation feels less like a cathartic turn and more like a narrative sleight of hand that the play hasn’t earned.

This points to the central issue: the characters are too thinly drawn to sustain the weight of the play’s ideas. We see Mano’s grief, Marcus’s urgency to settle, and Eli’s activism, but we rarely feel them. The stakes, which should be life-altering, register as curiously low. Even the moral dilemma - to take the money or resist the system - never fully ignites because the emotional investment isn’t there.

Timpo’s direction leans into the play’s abstraction, emphasizing its communal and ritualistic elements. At times, this works; the staging has a fluidity that suggests a world where reality and memory bleed into one another. But the lack of clarity ultimately undermines the experience. Confusion becomes less a deliberate aesthetic choice and more a barrier to engagement.

There is also the question of place. Though the play is set in Chicago, it rarely feels rooted there. References to Rainbow Beach or Pequod’s Pizza read as surface-level markers rather than lived-in details. For a story so deeply tied to protest, policing, and community, the absence of a tangible sense of Chicago is a missed opportunity.

Still, the performances strive to elevate the material. Arenas is the undeniable standout, bringing vitality and nuance to each of her roles. Whenever she takes the stage, the play briefly finds its pulse. Potts lends dignity to Mano, though the script gives him limited room to build a fully realized arc.

McCraney has proven himself to be a playwright of profound depth and clarity. Windfall gestures toward that brilliance but never quite achieves it. It is a communal experience, yes - but one that leaves you searching for emotional and narrative footing long after the final moment fades.

Somewhat Recommended

When:   Through May 31

Where:  Steppenwolf Theatre, 1650 N. Halsted

Tickets: $20 - $148.50

Box Office: 312-335-1650

www.steppenwolf.org

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

Ngozi Anyanwu’s Leroy and Lucy, in its electrifying world premiere at Steppenwolf Theatre, takes the legendary tale of Robert Johnson’s fateful night at crossroads and infuses it with the powerful mysticism of Yoruba spirituality. Forget the familiar Christian devil—instead, Anyanwu conjures Eshu, a complex Orisha (god) from Yoruba mythology who rules over sin and consequence, fate and chance, life and death. Directed by the fantastic visionary Awoye Timpo, this production doesn’t just retell a story; it transforms it, offering a dynamic cultural perspective that pulses with life and spirit.

Anyanwu’s storytelling is steeped in Yoruba tradition, with each line brimming with lyrical beauty and mythic depth. Lucy, played with fierce magnetism by Brittany Bradford, is Eshu personified—a playful, vain, argumentative trickster whose allure is irresistible. Leroy, played by the exceptional Jon Michael Hill, thinks he’s stumbled upon Lucy by chance, but the truth is far more chilling: Lucy has been waiting, watching, and weaving her magic to ensnare him—and the audience is captivated right along with him. Bradford’s portrayal of Lucy is utterly mesmerizing, casting a hypnotic spell that lingers long after scenes fade.

In one unforgettable scene, Legba—the Orisha known in Yoruba religions as the divine messenger and guardian of roads, paths, fate, and life—possesses Leroy’s body to confront Eshu in a thrilling clash of wills. As the master of destiny, Legba’s challenge to Eshu is charged with intense energy and revelation. The production also weaves in reincarnation, a core belief in Yoruba spirituality, adding a profound layer of spiritual depth making the play as thought-provoking as it is captivating.

Bradford and Hill’s chemistry is electric, their performances so raw and dynamic that they alone would be worth the ticket. Bradford, recently seen in Julia, The Watcher, and Dead Ringers, brings a complexity to Lucy that is fierce and enigmatic, while Hill, a Tony-nominated Steppenwolf ensemble member, infuses Leroy with vulnerability and resolve, torn between his aspirations and the spiritual forces at play.

Under Timpo’s masterful direction, Leroy and Lucy immerses the audience in a world that feels at once familiar and otherworldly. Andrew Boyce’s stunning set design, Heather Gilbert’s evocative lighting, and Conner Wang’s immersive soundscape create an atmospheric crossroads where visions flicker and secrets seem to breathe. Every element blurs the line between the earthly and the supernatural, drawing the audience into a world where they, too, must confront forces beyond comprehension.

Ultimately, Leroy and Lucy is a transcendent theatrical experience that bridges worlds—both cultural and spiritual. Anyanwu, Timpo, and the cast have created something profound and stirring: a play that speaks to ancient truths while challenging Western narratives, leaving its mark as a significant addition to contemporary theater.

Highly Recommended
When: Through Dec. 15
Where: Steppenwolf Theatre, 1650 N. Halsted
Tickets: $20 - $92
Info: steppenwolf.org

The expansive, opulent home exudes an air of solid middle-class comfort, boasting a formal dining area, an upright piano, and multiple doors leading to various sections of the house. A bay window graces an alcove, while a grand staircase ascends to the sleeping quarters on the second floor. Adorning the walls are portraits commemorating significant moments in the family's history, including images of MLK and Rosa Parks alongside the patriarch. This residence, nestled in the Jackson Park Highlands—an economically segregated enclave on Chicago's South Side—radiates a sense of peace, tranquility, and nobility. Soon, however, it will transform into a bustling hive of activity.

Branden Jacobs-Jenkins, a MacArthur Fellow and Pulitzer Prize finalist is a chameleon in the world of dramatist.  He wrote the controversial Obie Award-winning “An Octoroon”; the satirical  thriller “Gloria”, and the southern plantation drama “Appropriate” which received its world premiere in Chicago. Branden Jacobs-Jenkins is not a Black playwright, he is a playwright who just happens to be Black.  He would have it no other way. He doesn’t allow himself to be classified to any specific genre of storytelling. His influences are as varied as the plays he writes.

"Purpose," directed by the Tony Award-winning actress and director Phylicia Rashad, is nothing short of extraordinary. It transcends the confines of a mere family drama, delving deep into the realms of a virtual character study.

(left to right) Harry Lennix and Ayanna Bria Bakari with ensemble members Glenn Davis and Jon Michael Hill in Steppenwolf Theatre Company’s world premiere of Purpose by Branden Jacobs-Jenkins, directed by Phylicia Rashad.

The Rev. Solomon "Sonny" Jasper is a civil rights icon. He has marched for justice and witnessed important moments in the Civil Rights Movement. He has met with influential figures like Rosa Parks and Nelson Mandela. His income comes primarily from speaking engagements and donations. He has dedicated his life to helping others. He tried to raise his two sons according to his values, church and state. Naz was to be a pastor and  Solomon Jr. was in politics.  Now retired, he has taken up beekeeping, perhaps to find purpose in his life.

His wife Claudine Jasper is the proverbial women behind the man. She takes care of her family and is the strength they rely upon. A lawyer by degree, she uses it in service of her family. She’s shrewd  and disarmingly warm at the same time. She likes to be in control and she’s not one to cross.

Solomon "Junior" Jasper, son of Sonny and Claudia Jasper, embodies both his parents' strengths. A former congressman, he has recently been released from prison after serving time for using campaign funds for his personal use.   Despite his challenges, he stays positive and believes in himself. He blames his troubles on his recently diagnosed mental health issue. He craves attention and shows signs of narcissism, but his charisma makes it easy to overlook.

Morgan Jasper is the wife of Solomon Jr.  When we meet her she is soon to enter prison to serve her time for tax fraud. She was caught up in her husband’s financial improprieties. Since they have  children Morgan and Junior cannot serve their prison time at the same time.  She is more bitter than a slice of lemon in a jar of three-day old Kool-Aid. She feels she is taking the fall for her husband and by default his family. She warns anyone within earshot to be wary of The Jaspers. She denies them the company of their grandchildren, knowing this drives Claudia to distraction.

Nazareth “Naz” Jasper is the youngest son of Solomon and Claudia. He is an introvert in a family of extroverts, in essence, the weird one. He photographs nature scenes for a living and enjoys his solitude. He dropped out of divinity school much to the chagrin of his father who wanted him to follow in his footsteps and become a pastor. He’s possibly on the spectrum (aren’t we all) and asexual. He’s also our narrator, giving us valuable insights into the Family Jasper.

Aziza Houston, an independent self-sufficient woman, is the friend of Nazareth Jasper. She walks into this situation blind. She is shocked Naz, is the son of the civil rights icon. She is elated to be in the company of the Jaspers until she is truly in the company of the Jaspers.

Director Phylicia Rashad effectively maintains the motivation and focus of her cast throughout the production, fostering a sense of familial unity among the actors, which I find particularly appealing in collaborative efforts. The casting couldn't have been more apt, with each actor perfectly suited to their respective roles.

Jon Michael Hill embodies the charm of Naz, evoking empathy as the outlier within his family. Whenever he steps into the spotlight, anticipation mounts for the forthcoming revelations, delivered with a blend of wit and sincerity. Glenn Davis delivers his best performance yet as Solomon Jr., infusing the character with a delightful humor that effortlessly captivates the audience. Alana Arenas mesmerizes with her portrayal of Morgan, conveying volumes with just a single glance. Her entrance into the dining room is etched into memory, portraying a woman whose words cut like a dagger.  Ayanna Bria Bakari navigates the complexities of Aziza's character with finesse, charting a compelling arc from excitement to dread as she becomes entangled with The Jaspers. Harry Lennox brings a dignified presence to the role of patriarch Solomon Jasper, embodying the essence of strength and authority. Tamara Tunie shines as the family matriarch, Claudine Jasper, striking the perfect balance between assertiveness and subtlety in her delivery, effectively communicating her message without overpowering force.

Todd Rosenthal's set design is teeming with intricate detail, evoking the sensation of a hive with its distinct compartments—a captivating and thought-provoking choice. Amith Chandrashaker's realistic lighting design further accentuated the set, seamlessly integrating even the more fantastical elements such as the special spotlight on Naz, lending them an air of naturalness. Dede Ayite's costume design elevated the character portrayals, skillfully complementing them without ever overshadowing the performances.

While the playwright never explicitly mentions the name, it's difficult to miss the parallels to the Jackson family……..Jesse,  not Michael. Brandon Jacobs-Jenkins is known for tackling controversial themes, prompting the question: would a white playwright be afforded the same latitude in crafting such an interesting narrative?   Discuss!

“Purpose” is a cautionary tale.  Imagine we are all worker bees in a giant hive called life.  Each bee has a specific role within the hive, whether it's building comb, collecting nectar, or caring for the young. These roles contribute to the greater good of the hive's survival and success.  Just like bees, we all have a unique purpose within the larger ecosystem of life.  Our purpose may not always be readily apparent,  but it's there and only we can live our purpose.

“Purpose” is arguably the best play I’ve seen at Steppenwolf Theatre. It’s going to be the best play seen on Broadway.

Highly Recommended

When: Through April 28

Where: Steppenwolf Theatre, 1650 N. Halsted St.

Running time: 3 hours

Tickets: $52-$116 at 312-335-1650 and www.steppenwolf.org

*Extended through May 12th

If anyone can be trusted to pay tribute to the late Sam Shepard’s work, it’s Steppenwolf. While they didn’t necessarily originate Shepard’s now classic play, their 1982 production certainly had something to do with the play’s legacy. In fact, Steppenwolf owes a lot of their respected standing in the international theatre community to this particular production. Directed by Gary Sinise and starring then unknowns John Malkovich and Laurie Metcalf, the storefront theater’s production transferred Off-Broadway in 1982. It ran for nearly 2 years and did better than the play’s original Off-Broadway run just a year earlier. 

In 2018 it was announced that Steppenwolf would revive their production in the 2019 season. Of the original ensemble cast, Francis Guinan is the only member to return (in the same role no less). Randall Arney replaces Gary Sinise as director and the results are fairly revolutionary. Some audiences may struggle with Sam Shepard works, but in Arney’s hands Steppenwolf delivers a comprehensible revival worthy of the hype. 

‘True West’ is at its core a simple story. Austin (Jon Michael Hill) is a successful writer taking some time away from his wife and kids to house-sit outside LA for his mother (Jacqueline Williams). His peace is disturbed by his screw-up older brother Lee (Namir Smallwood). The two spend the play battling out their dominance in near primal terms until their mother returns early. 

Sam Shepard had a gift for taking typical American life and turning it on its side with odd, but profound dialogue. ‘True West’ is an examination of the old west and what glimmers of it remained by 1980. It’s especially expounded upon when the two brothers vie for film producer Saul’s (Francis Guinan) attention. ‘True West’ also represents Shepard’s own duality; the slick Hollywood writer and the rebellious hellion described in Patti Smith’s memoir ‘Just Kids’. 

Sam Shepard plays are thinkers. They can be tedious to read, and even more tedious when done badly. This cast and director have a solid grasp of Shepard’s intention rendering a very easy to follow performance. While the ethnicity of actors should be irrelevant, Arney has made an interesting choice by making this a primarily African American cast. This casting adds a layer of complexity perhaps even Sam Shepard never thought of. Both Jon Michael Hill and Namir Smallwood turn in intense performances. They deftly switch between their character architypes and by the end you aren’t sure which character should be feared more. The last image will leave you breathless.  

If you’ve never seen ‘True West’ this is the production to see. It’s epic in scale with an impressive set by Todd Rosenthal and it’s incredibly well acted. For those Steppenwolf enthusiasts, this is an important revival for the institution itself, as this was the play that put them on the map. It’s hard to believe that without Sam Shepard’s ‘True West’ we may not have the iconic space on Halsted and maybe Chicago wouldn’t be nearly as reputable for outstanding regional theatre. In any case, this ‘True West’ is a bit of history reimagined for a new generation to not only find Shepard’s work relevant, but also consider the impressive legacy of one of Chicago’s finest institutions. 

Through August 25th at Steppenwolf Theatre. 1650 N Halsted. 312-335-1650

Watching one scene acted four or five ways is intrinsically interesting. It’s regularly played to comic effect at Second City. But what about an entire play strung together from a series of such scenes?

This structure, used in Constellations at Steppenwolf Theatre, may put your interest to the test. But it will not lose it.

This celebrated work is by British playwright Nick Payne, whose daring script has a simple storyline – boy and girl meet, court, marry. They face the joys and trials of coupledom: sharing, loving, careers, infidelity, illness.

Many scenes (all of them quite short) are played verbatim, or nearly so, three or more times in rapid succession. The characters shift emphasis, even reverse roles - the victimized party turns victimizer; the adulterer turns adulteress. Other scenes are almost largely rewritten for the multiple versions – delving into a conditional world – one in which this same relationship has played out differently than other scenes have suggested to us.

As Constellations progresses, the effect of so many short scenes is like standing at Oak Street Beach as the waves lap up, each similar, but different. In totality, the effect is mesmerizing.

And those individual scenes are very strong. The excellent performances by Jon Michael Hill as Roland, a beekeeper, and Jessie Fisher as Marianne, a theoretical physicist, give this work its due. (Both play with plausible British accents.)

After the 80 minute performance (no intermission) one can think back and say, “I saw a play tonight, and here’s what happened.” At Wednesday’s performance the audience was clearly engaged, getting the jokes, and tracking the action– as those scenes washed over them again and again.

The unlikely pairing of a beekeeper and a theoretical physicist also assures there will be great contrast in these characters. The beekeeper’s career path, explored through exposition, is quite credible in our renaissance of makers and foodies. He clearly admires the well defined roles of bees (i.e., worker,drone, queen).

But it is the role of Marianne, the theoretical physicist, that may be the key to this drama. Explaining her work to Roland, she posits a world in which all the choices we have made, or didn’t make, and lives we could have led, or did lead – coexist. Perhaps like Kurt Vonnegut's Slaughterhouse Five, these characters are "unstuck in time." This helps explain recurring scenes that diverge from the most likely story line. One example: a wistful exchange when the two, apparently living separate lives, meet up “years later” by sheer chance – a scene (repeated multiple times in various ways) that runs counter to suggestions they lived happily ever after.

The handsome set (Joe Schermoly) carries Constellations' theme well, setting the duo on a seamless, cornerless, groundless landscape of blue, evoking an unbounded cosmos. Above hang webs of LED rope (light design by Heather Gilbert) that crackle and flare like lightning (perhaps a visual cue of String Theory?).

Another provocative aspect of Constellations is conjured by a line delivered repeatedly by Marianne early on, and again near the end: “Mother wasn’t afraid to die; she was afraid of being kept alive.” This play is also about that solemn thought.

Constellations, directed by Jonathan Berry, runs through July 3. In addition to its well regarded author and highly regarded performances in London and New York, the show lets fans see TV star Jon Michael Hill (Detective Marcus Bell in CBS-TV’s Elementary) and Jessie Fisher, who starred on Broadway in Once.