Displaying items by tag: chicago theatre

Everyone encounters many crossroads in their lives, where they make a choice that determines the future…and many people live to regret it. That is where Dawn, the protagonist of Out Here, the new musical receiving its premiere at Court Theatre finds herself. Unlike most people, however, her realization does not come in a quiet moment of reflection, but just as she and her husband, Brian, and 15-year-old daughter, Cleo, have discovered that they have a band and an audience. It’s a lot, and the extremely metatheatrical musical reflects the chaos well. While there are drawbacks to the format, including the impossibility of fully developing most of the characters, the one-act musical by Leslie Buxbaum (book and lyrics) and Erin McKeown (music and lyrics), based on a concept by Buxbaum, McKeown and David J. Levin, is an entertaining and often moving reflection on personal choices and the people they affect.

Breaking the fourth wall is a hallmark of musical theater, and metatheatrical reflections on the musical being performed are also not uncommon these days, but Out Here takes these conceits to a new level. And that, arguably, is what makes it work so well. The characters must learn how to respond to the fact that they are living their lives in a musical as they navigate the changes in their family structure. The musical form proves to be a convenient way to condense the journey into an evening for the benefit of the audience that comes with it. It also provides a metaphor for the families’ (there are several) journeys from fumbling with new relationships and legal and geographic uncertainty to settling into the rhythms of new lives. The music reflects the jarring awkwardness of both the unexpected performance and the fallout of Dawn’s announcement that her “here” is no longer where she wants to be. As they get more comfortable with both performance and marital differences, the characters begin to exploit their access to a band—and apparently new-found guitar skills—to sing their own songs and share their emotions with each other and the audience. Buxbaum and McKeown toy with breaking the rules of musical theater, allowing characters to exit to the green room and the lobby and to directly address the band and audience. When a mediator is needed, he enters from the band and introduces potential shared custody options in song—a song that that Cleo recognizes from a friend’s experience (and wonders if she could get a puppy, too). Director Chay Yew wisely trusts the material and allows characters and audience to just keep up—no unnecessary scene changes or projections indicating changes in setting—making for a fast-paced exploration of relationships, time, and what’s important in a life. It’s occasionally messy or unfulfilled, but always compelling.

Photo of Alex Goodrich, Ellie Duffey, and Becca Ayers in Out Here at Court Theatre. Phot by Michael Brosilow.

Despite all the metatheatrical machinations, Out Here has an easy-to-follow plot and a singular protagonist. This is Dawn’s story, and the character uses this to her advantage, controlling both the narrative and the other characters as much as possible—though neither musicals nor reality allow for time travel, not that Dawn doesn’t try. While passionately pursuing the life that she wants (and simultaneously trying to figure out what that means), Dawn could quickly become grating, as she seems to be surrounded by good options and supportive friends and family, plus a band. Fortunately, Becca Ayers brings lightness and self-awareness to the role, as well as the ability to belt out power ballads and harmonize with her partners in multiple musical genres. Cliff Chamberlain as Brian plays to his strengths as a mostly non-musical actor—and his voice works well for the folksy guitar serenades that Brian chooses as his musical medium. He is charming and initially almost overly forbearing but grows stronger as he realizes that he has been given an opportunity that he is not willing to give up. As their daughter, Cleo, Ellie Duffey is charismatic and complicated, thrilled to have an audience, wanting to support her parents, but irritated that she is being left out of the decision-making. When she finally gets a song, it’s a propulsive punk declaration that is a necessary release. Bethany Thomas as Robin, Dawn’s ex-girlfriend who reluctantly reenters Dawn’s life, is uncompromising and vulnerable, wanting to rekindle their relationship, but justifiably apprehensive, and her dynamic voice is perfect to convey both her character’s surety about what she needs, and her fear that she might be disappointed again. Thomas’s comic timing also complements Robin’s sarcasm.

Alex Goodrich brings charm and flair to the most musical-theater role of the musical, Martin—he’s in the band! He’s the mediator! He’s the BFF! He can be anything you want him to be, keep the tempo and find the right accompaniment. Though not personally invested, his empathetic performance ingratiates him to both the family and the audience. Also, part of the familial rebuild are Gina, the woman Brian begins dating and Jett, Robin’s grown child. They, too, get swept up in the musical, but they do not have their own songs (maybe if there were a second act?), though they manage to hold their own in the musical/slash family drama they have entered. Amanda Pulcini brings a grounded humor and composure to the most awkward of situations Gina finds herself in. The fact that Jett’s entrance is often introduced with the ominous phrase “the plot thickens” is ironic, since Jett, as played by Z Mowry, is amiable and understanding, someone who seems like a good person to have as a friend, and usually offers sound advice that helps the plot along.

The musical and the cast get top-notch support from the designers and musicians. Co-orchestrator (with Erin McKeown), conductor, and keyboard player Christie Chiles Twillie backs up the vocals and underscores the book perfectly, keeping the tempos tight and the volume attuned to the singers and the script. Breon Arzell’s movement adds controlled chaos, matching the verbal humor and tension with apt but unintrusive movement. Scenic Designers Andrew Boyce and Lauren M. Nichols have created a musical-scale proscenium out of roof beams that mirror the moods of the home’s inhabitants, with a large but cozy interior and expansive outside. Sound designer Lee Fiskness integrates sound effects with the music to mesh the sounds of home with the beats of the band. The musicians make it seem possible to suddenly have a life become a musical, moving easily between styles, “acting” in response to the cast and swelling instrumental lines for onstage instruments.

Whether one likes Out Here will probably depend on one’s tolerance for stories of privileged people choosing between multiple good options surrounded by understanding friends and family. However, there is no denying that using a DIY musical to represent the struggles of a family trying to deal with change is a resonant metaphor, and the music captures some common challenges in fresh and thought-provoking ways. The book by Leslie Buxbaum explores the joy and tension of familial and other relationships with compassion and a great deal of humor. Erin McKeown’s music (with lyrics by Buxbaum and McKeown) allows the audience to get to know the characters and share moments from years of their lives in around 90 minutes (the magic of “theater time”). Chay Yew’s production is fast-paced, uncluttered, funny, moving, and thoughtful. Though Out Here wisely avoids trying to tie up all loose ends, it leaves the audience with a lot of good questions to ponder.

Out Here runs through May 10 at Court Theatre, Wed/Thurs/Fri at 7:30pm, Sat/Sun at 2:00pm & 7:30pm.

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

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. 

AstonRep Productions, the theatre and film production company that has produced over 30 stage productions in Chicago, has announced it will be the first company in the US to bring Liisa Repo-Martell's adaptation of Chekhov's UNCLE VANYA to audiences. Repo-Martell's script, which was first produced by Toronto's Crow's Theatre in 2022, has been praised for its contemporary and colloquial language. The Toronto online arts magazine INTERMISSION said, "it is delicate and wholly faithful to Chekhov's story... relatable and even startlingly contemporary, affirming the timelessness of the themes Chekhov explored in his writing." The Crow's Theatre production was remounted in 2024 at Toronto's CAA Theatre and was named one of the top ten productions of the year by both THE GLOBE AND MAIL and THE TORONTO STAR. AstonRep's production will be directed by Derek Bertelsen, who recently helmed the revival of the hit comedy FULLY COMMITTED at The Den Theatre and has directed many of AstonRep's productions.  Bertelsen was co-founder/artistic director of The Comrades theater company from 2016-2020.

Bertelsen's cast will feature Rian Jairell in the title role of Vanya – a bitter and broken man who wonders what he might have done with his life if he had not committed to managing the family estate. Jairell's previous roles with AstonRep include Ariel in THE PILLOWMAN and Jerry in BETRAYAL. The beautiful Helena, who captivates all the characters, will be played by Andi Muriel, seen recently in THE TOTALITY OF ALL THINGS for Redtwist Theatre and THE IMPORTANCE OF BEING EARNEST for Strawdog Theatre. Robert Tobin, who was Founder and Artistic Director of AstonRep Theatre Company, will be Astrov, a neighbor and overworked country doctor who feels ruined by provincial life. Tobin's recent credits include ARMS AND THE MAN for Forest Theatre Company and THE PILLOWMAN with AstonRep. Another PILLOWMAN castmate, Natalie Hurdle, will play Sonya, who has loyally steadfastly worked to maintain the estate, and is deeply attracted to Dr. Astrov.

Cast as Vanya's mother Maria is Mary Mikva (of TIME IS A COLOR AND THE COLOR IS BLUE  for Avalanche Theatre). Geoff Issac, seen recently in MURDER ON THE ORIENT EXPRESS for Deerfield Theatre, will be the pompous and egotistical failed scholar Serebryakov. Liz Cloud (of AstonRep's BURIED CHILD) will be the nurse Marina, and Mike Rogalski (ELEKTRA – Forest Theatre Company) will play Telegin, an impoverished landowner who works on the estate.

The UNCLE VANYA production team will include Jeremiah Barr (set, lighting and properties design), Natalie Shoch (costume design), Samantha Barr (lighting design), Melanie Thompson (sound design), Bethany Hart (assistant director and vocal coach), and Nevaeh Mansur (Stage Manager). 

Tickets to UNCLE VANYA are $25.00 and will be on sale beginning April 25 at www.astonrep.com or by phone at or (312) 620-4583.

Jackalope Theatre Company is proud to present the world premiere of Andy Warhol Presents: The Cocaine Play, written and directed by Terry Guest, May 28 - July 6,at the Broadway Armory Park, 5917 N Broadway St. The total running time, including two intermissions, is two hours and 30 minutes. Preview performances are Thursday, May 28, Friday, May 29 and Saturday, May 30 at 7:30 p.m. and Sunday, May 31 at 2 p.m. The performance schedule is Mondays, Fridays and Saturdays at 7:30 p.m. and Sundays at 2 p.m. with no Friday or Saturday evening performances on July 3 and July 4. Tickets are $15 - $45 with student and Edgewater resident discounts available. Subscription and single tickets are now available at JackalopeTheatre.org or call/text the box office at 773.340.2543.

Andy Warhol Presents: The Cocaine Play is set in New York City where Andy Warhol (no, not that Andy Warhol) is stuck. He hasn’t finished a painting in years and has no new ideas. When a mysterious actress named Marilyn Monroe (no, not that Marilyn Monroe) stumbles into his life, she sends him down an epic path of madness, murder, betrayal and the desperate pursuit of fame, sex and beauty. Andy Warhol presents: The Cocaine Play is a 100% fake story about 100% real people that spans three decades and asks how far one is willing to go for the chance at superstardom. 

The cast of Andy Warhol Presents: The Cocaine Play includes William Anthony Sebastian Rose II (he/him, Andy Warhol); David Michael Dowd (he/him, Michael Brown); Alexis Ward (she/her, Marilyn Monroe) and Jasmine “Jazzy” Cheri Rush (she/her, Edie Sedgwick).  

The creative team for Andy Warhol Presents: The Cocaine Play includes Terry Guest (he/him, playwright and director); Ayanna Bria Bakari (she/her, associate director and wigs designer); Sydney Lynne Thomas (she/her, scenic designer); Madeleine Shows (costume designer); Spencer Diaz Tootle (she/her, props designer); Levi Wilkins (he/him, lighting designer); Ethan Korvne (he/him, composer and sound designer); E Tylkowski (they/them, technical director); Stephanie Mattos (she/her, fight and firearms coordinator); Kirsten Baity (they/them, intimacy coordinator); Corey Bradberry (he/him, production manager); Sam Burkett (she/they, stage manager); AJ Links, CSA (she/her, casting director); Monét Felton (they/theirs, artistic producer); Hudson Therriault (any/all, accessibility manager); Amira Danan (she/her, development director), Karina Patel (she/her, new works manager) and Kaiser Ahmed (he/him, artistic director).

ABOUT TERRY GUEST, PLAYWRIGHT/DIRECTOR

Terry Guest is a three-time Jeff Award-winning playwright, actor, director and teaching artist. Works include: At The Wake of a Dead Drag Queen, OAK, The Magnolia Ballet (Jeff Awards for Production and Performance in a short run), A Ghost in Satin (Williamstown Theater Festival), Marie Antionette and the Magical Negroes (Three Jeff Awards including New Work, Director and Ensemble), Nightbirds, The Madness of Mary Todd (Goodman Playwrights Unit commission) and Milo Imagines the World. As an actor Guest has worked at regional theaters including Goodman Theatre, Steppenwolf, Alliance Theatre, About Face Theatre and Actors Express.

ABOUT JACKALOPE THEATRE

Jackalope Theatre Company expands the definition of American Identity by engaging with communities to produce works that celebrate diverse perspectives. Jackalope is a premier home for new and exciting Off-Loop Theatre based in Chicago's Edgewater and Rogers Park neighborhoods. They are committed to cultivating new voices that contribute to an expanding American culture and mythology. Each season, Jackalope produces full-length plays, new play development programming and provides free classes in partnership with the Chicago Park District.

Jackalope Theatre Company is proud to present the world premiere of Andy Warhol Presents: The Cocaine Play, written and directed by Terry Guest, May 28 - July 6,at the Broadway Armory Park, 5917 N Broadway St. The total running time, including two intermissions, is two hours and 30 minutes. Preview performances are Thursday, May 28, Friday, May 29 and Saturday, May 30 at 7:30 p.m. and Sunday, May 31 at 2 p.m. with the press opening Tuesday, June 2 at 7:30 p.m. The performance schedule is Mondays, Fridays and Saturdays at 7:30 p.m. and Sundays at 2 p.m. with no Friday or Saturday evening performances on July 3 and July 4. Tickets are $15 - $45 with student and Edgewater resident discounts available. Subscription and single tickets are now available at JackalopeTheatre.org or call/text the box office at 773.340.2543.

Screwball comedy went the way of the dinosaur after the 1940s, but Northlight Theatre attempts to revive it with The Angel Next Door.

For those unfamiliar, screwball was a film subgenre that mixed romance, slapstick, and banter, like Mentos and Coke, and watched them explode to great effect. Stars like Cary Grant, Katharine Hepburn, William Powell, and Barbara Stanwyck delivered punchlines like a punch to the gut and made the over-the-top plotlines land with ease. A modern-day screwball comedy is a welcome idea. Unfortunately, The Angel Next Door doesn’t quite fly to its predecessors’ heights.

Written by Paul Slade Smith, this comedy was adapted from Ferenc Molnar’s Play at the Castle. It follows Oliver Adams, played by Garrett Lutz, who just finished his first novel. It’s set to be adapted for the stage by married playwrights, Arthur and Charlotte Sanders (Sean Fortunato and Katy Sullivan). They desperately need a hit after their last venture flopped, and their only hope is Oliver’s book.

Unfortunately, things don’t go as planned, and the bright-eyed, innocent author discovers that the beautiful Margot Bell (Aja Alcazar), his love and the novel’s inspiration, has been intimate with Victor Pratt (Andres Enriquez), Broadway’s favorite baritone. It’s then up to Charlotte to bring the two together before Oliver flushes his dreams – and everyone else’s – down the drain.

The Angel Next Door is a love letter to theatre, poking fun at stage tropes, breaking the fourth wall, and preaching about the importance of laughter and escapism in today’s world. In fact, by the end, an unbeliever, Olga (Erin Noel Grennan), the maid, is converted. Unfortunately, the script is so saturated with inside jokes, that the plot is only as deep as a puddle. The first act feels like one long set-up for a mediocre pay-off in the second. Much of the time is spent in exposition or watching characters react to scenes the audience watched happen moments ago.

The cast is the saving grace. The entire troupe, with the exception of Sullivan, actually performed their same parts in Peninsula Players Theatre’s 2024 production. Linda Fortunato, Peninsula’s Artistic Director, directed those performances and also directs Northlight’s version, guiding the production with confidence and clarity even though this particular script doesn’t quite rise to meet her.

Sean Fortunato and Katy Sullivan work wonderfully together as the veteran playwrights who have been through it all. Alcazar balances Margot’s ego and grace well, making it easy to understand why it was love at first sight for Oliver. Enriquez is hilarious as the dumb Victor, who is always ten steps behind everyone else and gets lost in his own reflection. Alcazar and Enriquez also have great physicality, and it was fun to watch the flair they added to simple movements, like sitting down with style or stomping their foot. Erin Noel Grennan steals every scene as the grim Olga. Her comedic timing and presence make this kooky character pop.

Ultimately, The Angel Next Door has all of the parts of a solid comedy but in the wrong proportions. For example, Olga is a crowd-favorite, but scenes would occasionally stall to give her joke after joke. Too much of a good thing is a bad thing, especially when the audience got very few interactions between Oliver and Margot, despite everyone’s future hinging on their romance.

Still, The Angel Next Door delivers an enjoyable experience, lifted by a strong cast, even if it doesn’t linger long after the curtain falls.

For more information, visit https://northlight.org/series/the-angel-next-door/.

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

Marriott Theatre’s Heartbreak Hotel takes on the tricky task of charting Elvis Presley’s early ascent, walking the line between the mythic figure we think we know and the unpolished young man still figuring out who he was becoming. What emerges is a brisk, music‑driven portrait that leans into the volatility of those formative years - the industry pressures that boxed him in, the personal crossroads that pushed him forward, and the creative sparks that hinted at the cultural earthquake to come. It’s a show less interested in polishing the legend than in capturing the restless drive of a talent on the verge of rewriting American music.

Heartbreak Hotel traces Elvis Presley’s early rise with a pace that stays brisk without ever feeling hurried, using a clever device: a ’68 Comeback‑era Elvis looking back on his younger selves. At times the man, the teen, and the 11‑year‑old boy share the stage simultaneously - singing, reminiscing, harmonizing - embodying a life moving faster than any one version of him can fully grasp. The musical follows Elvis from the tentative spark of his Sun Studio sessions into the glare of national attention, tracing how each new opportunity brings both momentum and complication. Producers, handlers, and well‑meaning advisors orbit him constantly, each with a different vision of who he should become, and the show uses those interactions to underline just how precarious his initial ascent really was.

As the demands of fame tighten around him, the story frames Elvis’s evolution as a series of choices - some instinctive, some imposed, all shaping the performer he’s still learning to be. Rather than digging for psychological depth, the plot focuses on the push‑and‑pull between artistic hunger and commercial pressure, capturing the uneasy transition from raw talent to cultural commodity. It’s a portrait of a young man standing at the edge of a seismic career, long before the iconography calcifies and the legend overtakes the life.

At the center of Heartbreak Hotel is Tyler Hanes playing Elvis Presley, who carries the show with a mix of youthful swagger and genuine vulnerability. His performance hinges not just on vocal accuracy but on capturing the restless, slightly bewildered energy of a young man being swept into stardom. His renditions of “Blue Suede Shoes” and “Heartbreak Hotel” land with the right mix of polish and rawness, and his quieter moments - particularly the early Sun Studio sequences and those paired with Priscilla - give the production its emotional grounding.

The show’s Colonel Tom Parker, portrayed by Rob Lindley, is the necessary counterweight: charming, calculating, and always two steps ahead. Lindley brings a slick, almost Vaudevillian charisma that keeps the character from slipping into caricature (although Parker may have been a caricature of himself anyway). His scenes pop with tension, especially in numbers where he orchestrates Elvis’s next move with a smile that never quite reaches his eyes.

Tyler Hanes as Elvis Presley (center) with ensemble in Heartbreak Hotel at Marriott Theatre.

The Sun Studio ensemble - the musicians, producers, and collaborators - provide some of the production’s most engaging textures. Jackson Evans, as Sam Phillips, is heavily featured in the first act and delivers one of the show’s standout performances, offering a steady, clear‑eyed presence that anchors the opening chapters with real artistic purpose. The play digs into Phillips’s instinct for raw talent - his uncanny ability to spot greatness beforehand - and makes clear that his relentless championing of Elvis is what first carried the young singer’s sound across Memphis and into the broader South. His work with the band digs deep and gives us an idea of Phillips’s impact in shaping a new kind of rock ‘n’ roll sound. Their group numbers in the studio, including “That’s All Right,” have an infectious looseness that contrasts sharply with the more commercialized performances later in the show.

The supporting cast adds essential color. Colton Sims offers a sharp, unaffected turn as Teen Elvis, capturing the raw spark before the polish sets in, and Charles Adler Bischoof, as young Elvis, brings a bright, unguarded innocence that reminds the audience just how early the legend began.

Elizabeth Telford lends Gladys Presley a quiet emotional weight, centering the story whenever she’s onstage. Anna Louise Bramlett brings an earnest warmth to Dixie, while Amanda Walker gives Priscilla a steady, grounded presence that subtly deepens the story.

In one of Heartbreak’s most exciting moments, Alexandra Palkovic takes control of the stage delivering a sleek, charismatic jolt as Ann-Margret, hinting at the whirlwind to come. Palkovic dances with real fire, echoing Ann‑Margret’s signature style with crisp precision and an infectious burst of energy. Palkovic later joins Hanes in one of the most touching moments when the two perform a beautiful rendition together of “You’re the Boss.” The addition of a full Ann‑Margret song‑and‑dance number feels especially meaningful, since her on‑screen chemistry with Elvis has always struck me as one of the high points of his physical and emotional vitality.  

Tyler Hanes as Elvis Presley and Alexandra Palkovic as Ann-Margret.

Karl Hamilton gives Vernon Presley a quiet, understated presence, and Naiqui Macabroad stands out in his multi‑role track - Johnny Bragg, Chuck, Jackie Brenston, and the producer for both Steve Allen and Ed Sullivan - slipping between characters with crisp versatility and welcome bursts of personality. Fredrick Webb Jr. also makes a strong impression in multiple roles, notably as Roy Brown, Otis Redding, Fats Domino, and throughout the ensemble.

Going back to the musicians, the live band is one of the show’s more memorable assets. With Jake Busse as Bill Black, Zac Richey as Scotty Moore, and Trevor Lindley Craft as Ronnie (pre-DJ Fontana days) forming the tight onstage trio, the musicians anchor the production with a sound that feels both authentic and freshly charged. Lindley Craft doubles as Frank Sinatra. He and Hanes deliver one of the evening’s highlights as they recreate the famous duet from Elvis’s post‑Army appearance on The Frank Sinatra Show - a stylish medley of “Love Me Tender” and “Witchcraft” that lands with effortless charm.

Melanie Brezil also brings a radiant spark to Sister Rosetta Tharpe, delivering her featured moment with bright, joyful command on both vocals and guitar.  

Together, the band’s instrumental work and the ensemble’s rich harmonies elevate the musical landscape. A mid‑show gospel sequence of “Peace in the Valley” – another one of this staging’s big moments - showcases the ensemble’s vocal power and reminds the audience of the musical traditions that shaped Presley long before fame did.

Marriott’s in‑the‑round setup gives Heartbreak Hotel an expansive energy, with action unfolding on all sides. The cast’s aisle work draws the audience in, creating a surprisingly immersive sense of scale, and the smart use of media and projections amplifies that impact even further. A staging in this intimate space gives the storytelling room to gather real thrust. That quality becomes especially clear as the sequences build toward the emotional high point, when Elvis finally sheds the cookie‑cutter movie image he’d long outgrown and reclaims his artistry in the ’68 Comeback Special, reestablishing his place as the King of Rock ’n’ Roll. 

I’ve always been drawn to stories orbiting Elvis Presley, and Heartbreak Hotel earns its place among them by honoring the legend without embalming him in nostalgia. Elvis wasn’t just a chart‑topper; he was a cultural accelerant, the artist who fused gospel, blues, country, and rhythm‑and‑blues into a sound that detonated across America and permanently rewired its musical DNA. His influence stretched far beyond the stage - reshaping fashion, performance style, youth identity, and the very idea of what a pop star could be. Productions like this one matter because they keep that seismic legacy in motion, passing it from one generation to the next not as a museum relic, but as a living, breathing force that still shapes the music we hear today.

When referring to rock 'n' roll, John Lennon said it himself, “Before Elvis, there was nothing.” Heartbreak Hotel echoes that sentiment.

Directed and choreographed by Deidre Goodwin, this musical bears the imprint of an artist who understands how to propel a story without letting the spectacle swallow it. Her direction shapes the evening with a steady, purposeful rhythm, keeping the focus tight even as the musical numbers expand outward. Goodwin’s fantastic choreography blends period flavor with a clean, contemporary precision, giving the show a kinetic pulse that feels both rooted in its era and alive in the present. It’s her sense of balance - between nostalgia and freshness, between narrative drive and musical release - that ultimately gives the production its lift.

Elvis devotees will find plenty to appreciate in Heartbreak Hotel, which treats the King’s formative years and artistic rebirth with genuine affection and a clear understanding of his musical legacy. But the show’s appeal stretches well beyond Presley fandom; anyone who loves American music - from gospel and blues to early rock and soul - will recognize the joy in hearing these sounds brought to life by a superbly talented cast and band. Heartbreak Hotel runs through June 2nd at Marriott Theatre and is an exciting musical experience well worth attending. 

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

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

Sustaining legacy is no simple task, especially when considering the arts.  How do you preserve continuity of spirit while simultaneously establishing artistic harmony with the past, present and future?  Knowledge, skill and vision at the top are always critical.  But there are other intangibles that ultimately determine long term success.

When Robert Battle unexpectedly announced he could no longer act as artistic director for Alvin Ailey American Dance Theater in 2023 for health reasons, one of the most accomplished and revered dance companies in the United States began a search to fill a pair of epic shoes. Since its inception in 1958, nearly 70 years ago, the company has only had three artistic directors, Mr. Ailey himself, his designated successor and former principal Ailey dancer, Judith Jamison, and Mr. Battle whose initial association with the Ailey company was that of a guest choreographer. He’d go on to distinguish himself as a master in his field.

Late in 2024, Alvin Ailey Dance Theater chose Alicia Graf Mack, at the time director of the dance division at Juilliard, to become its fourth artistic director.  She began her tenure as Ailey’s new artistic director in July last year. 

Mack’s background and credentials are all exemplary and on their own portend a fruitful stewardship.  Born in California and raised in Columbia Maryland, her parents, one Jewish the other African-American, were socially engaged academics who encouraged their children’s creative interests.  Mack trained in ballet and by 17 was accepted into Dance Theater of Harlem where, at nearly 6’ tall and willowy, her height and grace contributed to building her celebrity.  Consequential injuries necessitated that she quit dance, leading her to acquire a History degree at Columbia University. 

After finishing Columbia, Mack returned to the Dance Theater of Harlem where the company’s financial difficulties made her homecoming brief. Applying to the American Ballet Theater and being rejected because of her height, she approached the Ailey company where she was not only accepted into the company, but she was also “embraced” in her totality. 

Artistic Director Alicia Graf Mack. Photo by Andrew Eccles.

Her initial time with Ailey, from 2005 and 2008, allowed Mack to explore and hone other dance styles more deeply and to intellectually mature as a dancer.  After leaving the company to obtain a degree in non-profit management at Washington University in St. Louis, she returned to Ailey in 2011 where she enjoyed notable success as one of its premier dancers until 2014.   Mack then redirected her career and devoted it to education.

At a luncheon held in her honor at Chicago’s Auditorium Theater earlier this year, Mack talked about the people and experiences that led her from being an aspiring teenage dance professional to heading one of the world’s leading dance organizations. As she recounted her past, the emotional intelligence and natural humility she’s noted for were readily apparent.  In her remarks, the new artistic director recognized the wealth of experience, knowledge and talent resident in the Ailey staff and stated she would be relying on those resources to help her fulfill her mission.  She also credited the mentorship she received from dance titans, including Ms. Jamison, pioneering Black ballerina Lorraine Graves and the legendary Carmen de Lavallade.  The advice and counsel they all shared will prove valuable assets for the future.

Just as she balanced the need to adapt to tomorrow while respecting heritage at Juilliard, Mack addressed doing much the same in her new role with Ailey.  Not only is she mindful in honoring the “Ailey aesthetic”, but she also shared her interest in bringing in new choreographic voices to complement, expand and enhance the principles and values Mr. Ailey displayed in his work and that of the choreographers he admired.

Providing avenues for dancers to achieve fulfillment in their craft is also central to Mack’s mission.  One she’s shown to advance through an ethos of affirmation. 

As the climax to the Auditorium’s 2025-2026 Celebrating Women in Dance season later this month, the Alvin Ailey Dance Theater engagement at the theater is a welcome to Ms. Mack.  The three-day run will see two programs performed.  In addition to Alvin Ailey’s classic Revelations and an excerpt from Judith Jamison’s 2005 Reminiscin’, the remaining five dances are contemporary creations of pioneering luminaries in choreography.  All five works saw their world premieres in 2025.

Promethean Theatre Ensemble has announced it will perform the Lewis Galantiere adaptation of Jean Anouilh's ANTIGONE, from May 31 through June 28 at the Den Theatre. Anouilh's play, which premiered in Nazi-occupied Paris in 1944, was itself an adaptation of the Greek play by Sophocles, believed to have been written in 441 BC. In the original myth of Antigone, the heroine defies King Creon's decree forbidding the burial of her brother. In Anouilh's adaptation, Antigone's dilemma is recast as a choice between following one's conscience and moral code versus capitulation to a totalitarian government. The play was a covert symbol of the French Resistance, with Antigone's "No" to Creon mirroring the French refusal to submit to German occupation. Galantiere's adaptation of Anouilh's text, which premiered on Broadway in 1946 replaced Anouilh's formal French with accessible prose that frequently uses American vernacular and has become the preferred version of ANTIGONE for contemporary performances. It also lightly shifted the tone to make the parallels to WWII more explicit for American audiences who hadn't lived through the occupation. This version employs relatable characters, unexpected humor, and accessible yet poetic language. 

Promethean's modern dress production, set in present times in a city very much like ours, will be directed by ensemble member Elaine Carlson, whose many roles with Promethean include Eleanor in THE LION IN WINTER, and the title roles in THE MADWOMAN OF CHAILLOT and MRS. WARREN'S PRFOESSION. ANTIGONE will be performed from May 31 – June 27 at The Den Theatre, 1331 N. Milwaukee Avenue in Chicago.  The production will play through Saturday, June 27.

Carlson says,  "the theme of Sophocles' drama – choosing what is right over what is expedient - is timeless, but Galantiere's adaptation puts it into a setting that makes it even more immediate.  Maybe this time Antigone's courage will be contagious."
 
Carlson's cast will feature Promethean Ensemble members Heather Dennis as Antigone, Artistic Director Jared Dennis as Creon, Meghann Tabor as Ismene, Joshua Servantez as Haemon, Gunner Bradley as First Guard, Brendan Hutt as Second Guard, and Christina Renee Jones as the Chorus. The cast also includes marssie Mencotti (nurse), Gavin Blayne (Third Guard/ Messenger), Anthony J. Harris (Page), and Alex George (Eurydice). Understudies are Alex George (u/s Chorus), Anna Rose Steinmeyer (Antigone), Chris Lysy (Creon), Layke Fowler (u/s Haemon), Dame Grant (u/s Guards/Messenger), and Jennifer Mohr (u/s Ismene/Nurse/Eurydice/Page).

The ANTIGONE design team includes Trevor Dotson (Scenic Designer), Rachel M. Sypniewski (Costume Designer), Stefanie Senior (Sound Designer), RobbyMoe Reeves (Lighting Designer), Maureen Yasko (Violence and Intimacy Designer), and Tristan Brandon* (Props Designer). Also on the production team are Hayley Rice (Assistant Director), Alexa Berkowitz* (Production Manager), Esau Andaleon (Stage Manager), and Jeremiah Barr* (Technical Director).

• Indicates Promethean Theatre Ensemble member.

ANTIGONE
Written by Jean Anouilh, Adapted by Lewis Galantiere
Directed by Elaine Carlson
May 31 – June 27, 2026
Previews Sunday May 31 at 7 pm and Monday, June 1 at 8 pm
Regular Run: Thursdays – Saturdays at 8 pm, Sundays at 3 pm. Additional matinees on Saturdays June 13 and 20 at 3 pm
The Den Theatre, 1331 N. Milwaukee Ave., Chicago 60622
Ticket Prices: $35 general, $25 students and seniors
For tickets, visit https://www.prometheantheatre.org/project/antigone/ or The Den Theatre Box Office, 773-697-3830.

Contemporary adaptation of Jean Anouilh's poetic drama of a woman forced to choose between following her moral compass and obedience to the laws of her rulers. First produced under Nazi censorship in 1944 Paris, Anouilh's ANTIGONE explores the conflict between individual conscience and political expediency. Then as now, "going along to get along" wasn't tragedy from ancient history - it was personal tragedy with real world consequences.