My first viewing of Chess was a community theater production. My second viewing was the filmed concert version starring Josh Grobin, Idina Mentzel, and Adam Pascal. Having not particularly enjoyed either of those productions, I was skeptical that there would be much for me to enjoy in this Broadway revival of a musical that is notorious for failed script rewrites.
Screenwriter Danny Strong, whose most notable accomplishment is the fantastic Hulu Dopesick series, finally created a script that audiences can love based on a critical change: he acknowledged that a lot of what is happening on stage is ridiculous (even if some of it is true).
Aaron Tveit & Lea Michelle (upper right) and the ensemble
Strong has added a narrator (Bryce Pinkham, who doubles as the arbiter for the chess games) and a Greek chorus dressed in matching tailored suits. With the narrator comes the second significant improvement in Strong’s script: the audience can follow the plot, which involves the CIA and the KGB attempting to manipulate the main characters to accomplish Cold War objectives. It all plays out much like a chess game in which lesser pieces are sacrificed for the greater goals. I’m sure the previous scripts also played on the parallels between Cold War objectives and a game of chess, but this new version manages to make that metaphor work.
Bryce Pinkham (upper center) and the ensemble
Everything else delivered on what one would expect from a Broadway revival—energized choreography, an ingenious set, and top-notch belting of the ballads from leads Lea Michaelle, Aaron Tevit, and Nicholas Christopher. Yet, it is the new script that makes me hope this production tours, so I can experience it at least once more.
Ragtime
In the book Razzle Dazzle, Michael Reidel provides an in-depth examination of how a promising show like Ragtime managed to underperform in its original Broadway run despite possessing all the ingredients for much greater success. Among other errors, the producers underestimated The Lion King, which also debuted in 1997-98 season and has lived on to become the most profitable Broadway show of all time.
Nichelle Lewis & Joshua Henry performing “Wheels of a Dream”
Whatever mistakes were made 28 years ago were not repeated in 2025 – Ragtime is one of the hottest tickets of the season and is a frontrunner to win a long-overdue Best Musical Tony (albeit for Revival). Much of the success for any Ragtime production sits squarely on the singing chops for the actor playing Colehouse Walker, and Joshua Henry is a true powerhouse. In fact, he received a first-act standing ovation following his rendition of “Wings of a Dream.” Yet, for me the highlight of Ragtime is not any one song or performer but instead the ways that the script merges its characters to tell the story of America.
Foreground: Joshua Henry (Colehouse Walker), Caissie Levy (Mother) & Brandon Uranowitz (Tateh)
Much of the conflict in Ragtime stems from the clashing of the three groups presented in the opening number: the wealthy white citizens of New Roselle, the immigrants landing at Ellis Island, and the African-Americans from Harlem. Certain moments remain deeply disturbing to watch—the vandalization of Colehouse’s scene and propositioning of Tateh’s daughter, to name two. But there is also great hope in Ragtime—maybe the people in our divided society can look past differences and find unity.
Many have connected this revival to political events, calling this “the right show for this time.” I would argue that, current events aside, Ragtime more than any other musical represents America—past and present.
I had not planned on seeing Cats until I read the glowing review in the Daily Herald, which described an original, circus-themed presentation. This new concept added coherence with the cats performing in acts that included contortionism and aerial arts. The eye-popping “Jellicle Ball”, choreographed by Kasey Alfonso and Sylvia Hernandez-DiStasi (credited with circus choreography), was the most energized moment in Chicago theater this year.
Josh Hoon Lee (ensemble), Charlie McCullagh (Larry) & Akron Watson (Ron Richland)
42 Balloons featured a talented chorus blending unique, synthesizer-like melodies perfect for the early ‘80s setting. This story of Larry Walters’ (Carlie McCullagh) – who flew 16,000 ft into the sky sitting on a lawn chair attached to weather balloons – includes deep love from his girlfriend Carol (Evelyn Hoskins), a hero’s journey, and tragedy. Writer Jack Godfrey merges these components into a deeply moving musical, which asks audiences to reconsider the legacy of “Lawnchair Larry.”
The young cast excelled in comic timing in this hilarious satire involving common people rebelling against a corrupt corporation with disastrous results. Scenic designer Eleanor Kahn hit gold by merging the audience into the set, making each seat a unique experience. My favorite moment was Hope (Amanda Rodriguez) leading her fellow rebels in a urinal baptism, which happened so close to me that I could have touched the running water.
Front center: Andrea Prestinario (Beverley and others)
Come From Away emerged as one of the most produced musicals nationwide in 2025, giving local audiences across America the opportunity to experience this wonderful show, which explores the influx of passangers grounded in Newfoundland following the 9/11 attacks. Paramount was the perfect venue for the local Chicago premier with its large stage and access to top-notch performers. Look for another production of Come From Away on the Marriott stage in August.
Anabelle de la Nuez (Penelopea) & Jonathan Dole (Carrot)
How to choose a favorite Joeffrey ballet in a 2025 season that also included Alice in Wonderland and Carmen? Golden Hour, a collection of five short dances, included my favorite dance piece of the year: The Princess and the Pea. Choreographer Dani Rowe created a perfect match of beauty and comedy. Setting this retelling in an all-green, dystopian world, the teenaged Penelopea must save her family and Pea Town by winning the annual Mattress Match.
Bri Sudia is always fantastic, but she particularly owned the stage as Louise Seger, a devoted fan of Patsy Cline, who develops a friendship with the country singer at one of Patsy’s concerts. Aja Alcazar was equally outstanding as Patsy. The Chuck Jones review in the Tribune noted that this musical has now been produced for longer than the artist herself (who died tragically at age 30) was alive. Give credit to writer Ted Swindley for his script, which alternates between deep emotion and hilarity.
This Tony winner excels most when it focuses on the ways that the ill-fated voyage represents dreams for its large cast of characters. My favorite moment is the subdued “The Proposal” / “The Night was Alive” duo of songs in which telegraph operator Harold Bride (Matthew Hommel) sends a marriage proposal from boiler room worker Frederick Barrett (Darian Goulding) to his girlfriend back home.
Porchlight created a marvelous set representing the cluttered Bechdel house for this introspective musical based on Alison Bechdel’s graphic novel. The cast included two of my favorite Chicago up-and-comers – Neala Barron as the exasperated mother Helen and Dakota Hughes as Joan. “Come to the Fun Home” and “Ring of Keys” remain among my all-time favorite musical numbers.
Kaitlin Feely, Ben Woods, Eldon Warner-Soriano (Jesus) & Maxwell J. DeTogne
Godspell provides a flexible canvas giving different companies the opportunity to make their production unique. The Music Theater Works setting was a coffee shop beginning with a variety of patrons, initially isolated in their phones, engaging in the rousing opening number “Prepare Ye the Way of the Lord.” Memorable songs included “Day by Day” sung by Kaitlin Feely and “We Beseech Thee” led by Connor Ripperger.
Ed Rutherford (Pseudolus) & Andrew Buel (Hysterium)
I’m always impressed by the talent that MadKap puts on its small stage at the Skokie Theater. The cast was led by Ed Rutherford, who propelled the frantic Forum pace as Pseudolus, and Andrew Buel, who stole his scenes as the obsessive, meticulous Hysterium. I had trouble picking a favorite between Forum and MadKap’s equally excellent Pippin.
Other Notable Performances
Shucked and Parade – Broadway in Chicago Cavalleria rusticana & Pagliacci – Lyric Opera Waa-Mu 2025: Arch Madness – Northwestern University
Michael D. Graham (Roy Cohn) and Joe Bushell (Joe Pitt)
Invictus has received significant praise for its ambitious staging of Tony Kushner’s 1993 Pulitzer Prize winner, which will likely dominate the 2026 non-equity Jeff Awards. The script itself is one of American theater’s greatest masterpieces, melding the realism of 1980’s America with delusions involving ghosts and an angelic prophet. What I remember most is the perfect cast of eight performing more than 20 roles. If forced to name a standout, I would pick Michael D. Graham as Roy Cohn, who hints as Cohn’s self-hatred even as he brags about being the most powerful AIDS victim in America.
Steppenwolf might have experienced some difficulty promoting this play, which centers on a girl named Theresa (Emilie Maureen Hanson), who returns to her family as a teenager after being abducted as a child. I saw it twice to explore the dynamic characters and powerful dialogue created by playwright Rajiv Joseph. In particular, Theresa is a marvel of complexity – a 16-year-old whose narrow worldview has been shaped by interactions with just one person. Ensemble members Kate Arrington (Hana), Tim Hopper (Mr. Wolf), Caroline Neff (Julie), and Namir Smallwood (Michael) round out the stacked cast.
Every Thanksgiving, I look forward to an alphabetic game my family started a few years back that is now a tradition. The first person states something they are thankful for that begins with the letter A, the next person is thankful for something beginning with the letter B, and so on until we have reached the letter Z. I decided this year I would challenge myself to name a different musical for each of my turns. Then it occurred to me that I do not need to wait until Thanksgiving dinner to make my list. The choices below are not always my favorite musical starting with that letter, but each brings me joy for at least one specific reason.
Avenue Q – Not only does Avenue Q remain my pick for the funniest musical ever written, but its central theme – life does not always work out the way we planned – resonates as much today as it did two decades ago.
Book of Mormon – Josh Gad wrote in In Gad We Trust that Andrew Rannells’ performance of “I Believe” at the 65th Tony Awards needs to be on any list of top 5 Tony performances. This hilarious showstopper provides a surprisingly universal ode for the power of faith.
Evan Tyrone Martin (Pierre, standing on the table) and the cast
I enjoyed this musical when I saw it on Broadway in 2017, but this production from Writers Theater launched Natasha, Pierre… into my list of all-time favorite musicals. Set within the world of aristocratic Russian society in 1812, every song overflows with the passions of characters who are fully committed to their causes, whether they strive to marry well, fabricate a scandal, seduce a young woman, or find meaning in the universe. Director and choreographer Katie Spelman led a cast with too many stars to name here – I’ll limit myself to praising Evan Tyrone Martin, who, as Pierre, accentuated the nuances of a character who shifted from hopelessness to action in Natasha’s (Aurora Penepacker) time of need. Year after year, Writers Theater rises to the top with their intimate stagings of large-scale musicals. Video montage
J. Harrison Ghee (Lady Chablis, standing tallest in the middle) and the cast
When the Goodman announced that J. Harrison Ghee (Tony winner from Some Like it Hot) would play Lady Chablis, I knew they were on the right track. Ghee’s entrance did not disappoint as she waved away the applause and insisted to the audience, “Make me earn it.” Adapting this 1994 bestseller into a musical is no easy task, but the script by Taylor Mac and the music by Jason Robert Brown embodied the mysteries, contradictions, and joys of Savannah. Brown’s use of different musical styles for each main characters’ songs added depth to their characterizations, and the choreography by Tanya Birl-Torres was another bonus. Producers have announced that Midnight… will open on Broadway in 2025, but as of yet no theater or opening date is set. Video scene
Four students and their teacher grapple with the complexities of learning English in this 2023 Pulitzer-winning play set inside an adult classroom in Teraj, Iran. Playwright Sanaz Toossi weaves together a thought-provoking exploration of how language defines us and what is lost when one is forced to change how he/she communicates. Among many fascinating interactions, the tension between the highly competitive Elham (Nikki Massoud) and her teacher Marjan (Roxanna Hope Radja) particularly stands out. English, which was a success off-Broadway in 2022, has its Broadway premiere this week. Video Clip (YouTube)
I was not familiar with Katy Sullivan when Chicago Shakespeare announced their production of Richard III, which would be the first staging from a major theater starring a disabled woman as the unscrupulous king. Sullivan is pure strength and ambition as she manipulates one death after another in the quest for absolute power. The political jostling at the heart of Richard III could be daunting for audiences, but under Edward Hall’s direction, each backstab builds upon the next leading to Richard’s inevitable fall from on high. Video Teaser (YouTube)
The best play I saw this year from a storefront theater, Pro-Am, which is short for “professional amateur”, follows several models as they try to establish themselves in Miami’s pornography circuit. The script by Chicago-based Brynne Frauenhoffer is filled with well-developed characters including Jenni (Amanda Fink), the experienced model whose advice leads to some great comedic lines, and Chloe (Jalbelly Guzmán), the newcomer with ambitions to make serious money on the business side. Fraunenhoffer demonstrates exceptional skill in exploring the risks (physical and emotional) of working in pornography while never minimizing her characters or their motivations. Video Teaser (Vimeo)
Jack Ball (T.J.), Emily S. Chang (Jane) & Kelley Faulkner (Liz)
The Coast Starlight, a play about missed connections, is a theater experience that kept me thinking for days following the performance. T.J. (Jack Ball) is traveling on the Coast Starlight from San Diego to Seattle as he deserts from the military. As the train moves north, he interacts with five other passengers who enter and exit his car, but most of the conversations are in his imagination. Keith Bunin’s script combined with Mark Clements’ imaginative direction tell a story about how often we might be just a few feet away from the person who could completely change the course of our lives. Video Teaser (YouTube)
Jennifer Morrison (Penelope, front). Tyler Meredith, Helen Joo Lee, Amira Danan, Aja Alcazar, Elizabeth Laidlaw & Allison Sill (maids, back)
Margaret Atwood adapted her own novel – which I also strongly recommend – about Penelope and the unjust murder of her 12 loyal maids when Odysseus returned to Ithaca. Jennifer Morrison (a graduate from Mount Prospect High School) led a talented ensemble cast with 12 actresses playing multiple roles in relating Penelope’s stories, which span from her birth to her presence in the underworld. Director Susan V. Booth led a team of designers in creating the most visually exciting show of the year. Video Teaser (YouTube)
Namir Smallwood (Kenneth) & Charles Andrew Gardner (Bert)
It is rare for me to feature more than one show per theater company on my top 10 lists, but the Goodman offered such an extraordinary variety of moving experiences in 2024 that is deserving of three spots (plus one more to come in my musicals list). Primary Trust, which won playwright Eboni Booth the 2024 Pulitzer for drama, centers on Kenneth, a 38-year-old who desires nothing beyond complete consistency – working every day at a bookstore and then spending every night drinking mai tais at a theme restaurant called Wally’s. When the bookstore closes, Kenneth is forced to consider the implications of his sole friendship in the wake of other transitions. Namir Smallwood as Kenneth expertly mixed comedy and trauma in creating a wonderful, empathetic character. Video Teaser (YouTube)
Since seeing The Whale at Victory Gardens (now sadly defunct) in 2013, I have made a point of seeing any show written by Samuel D. Hunter, a playwright with an astonishing ability to create uniquely wounded characters searching for something out of their reach. In the opening scene of Little Bear Ridge Road, Ethan (Micah Stock) returns to his childhood town to stay with his fiercely independent Aunt Sarah (the always stellar Laurie Metcalf) following his father’s death. One of my favorite aspects of this Hunter play is how he jumps forward in time from scene to scene, allowing his audience to fill in the gaps of Ethan’s emotional journey. Video Teaser (YouTube)
Geno Walker & Juwan Lockett (front). David Dowd, Kelvin Roston Jr., Alfred H. Wilson, A.C. Smith & AnJi White (back)
I almost did not make it to Hyde Park to see this production, but a random theatergoer at a different show raved so emphatically about it, that I changed my mind – and I am very glad I did. (This is why theaters remind audiences that word of mouth is their best form of advertising.) For much of this excellent script by Eugene Lee, the audience does not fully grasp the tension created by young Delmus Green’s (David Dowd) attraction to a girl, nor do we expect the depths to which the traitorous XL Dancer (Juwan Lockett) will sink to get ahead. During the climactic final scene, which took me by complete surprise, director Ron OJ Parson and this amazing ensemble cast had me physically shaking in my seat. Video Clip (YouTube)
My enjoyment of Every Brilliant Thing was enhanced when I was chosen to be a featured player. Jessie Fisher, who delivered ceaseless energy while performing this one-actor show, fed me lines while I acted the part of her boyfriend turned husband turned ex-husband. But even without participating, I would have marveled at how a play rooted in a depressing subject (suicide) could inspire optimism through the narrator’s massive list, started when she was seven years old, chronologically all the great things in the world. (spoiler: #1 is ice cream)
The first drama I saw this year has stayed with me 11 months later due to tragic realities faced by the characters. Set in Afghanistan in 2013, Taroon (Owais Ahmed) has grown restless from hiding in his sister’s apartment for four months, hoping he’ll receive the visa that former American colleagues promised him. His sister Afiya (Aila Ayilam Peck), his brother-in-law Jawid (Ahmad Kamal), and his wife’s cousin Leyla (Shadee Vossoughi) all become entwined in Taroon’s attempt to leave the apartment to see his newborn son. While the play was first produced in 2019, the content was particularly timely following the U.S.’s withdrawal from Afghanistan in 2021. Video Clip (YouTube)
Other notable productions from 2024
The Audience – Drury Lane Oakbrook The Enigmatist – Chicago Shakespeare Gods and Monsters – Frame of Reference (at Theater Wit) How I Learned What I Learned – Congo Square (at Broadway Playhouse) Jacob Marley’s Christmas Carol – Lifeline Purpose – Steppenwolf Rosencrantz and Guildenstern are Dead – Court Seven Guitars – City Lit This is Our Youth – Gwydion (at Greenhouse)
And two more productions I would have liked to have seen
By the time I tried to buy tickets to see The Normal Heart at Redtwist Theater (which has renovated its storefront theater) and A Case for the Existence of God at Steep Theater, both shows were sold out. I am sorry to have missed two plays that I have greatly enjoyed in the past, but I am happy that both small theaters thrived with their productions.
On Saturday, April 6, I drove 3 hours to Indianapolis to see Hadestown. This marked my 10th viewing in five different cities (New York, Chicago, Madison, Milwaukee, and Indy) in a little less than two-and-a-half years. On my return drive, I considered what makes Hadestown my “favorite musical.” I love the story, all of the songs, and the joy of watching different actors put their unique stamp on the leading roles, but that can be said about a number of musicals. The simplest explanation is that I connect with Hadestown in an way that is greater from the any other musical that I have seen.
In honor of my Hadestown anniversary (and another anniversary since this is my 100th blog post), I have decided to start a series about the musicals that have had the greatest impact on me. I will begin by writing about my five favorite musicals emphasizing memories of my first viewing, the deep connections I make with the characters, and the moments that I eagerly anticipate whenever I am fortune enough to catch a production.
#1 – Hadestown
Eva Noblezada, André De Shields, and Reeve Carney from the original Broadway cast
Hadestown was one of the first musicals to reopen on Broadway after more than a year of darkness due to the COVID pandemic, and I hopped on a plane to see it knowing only a few facts: (1) it had won the Tony award for Best Musical, (2) it’s plot is rooted in Greek mythology, (3) and André De Shields was earning rave reviews as Hermes. Hadestown hooks the audience right at the start. Hermes walks across the stage in a sparkling suit, quietly connecting with each of his fellow actors, and then he asks the audience to acknowledge that we are “all right!” From there, the overture begins with a rousing trombone solo.
I often paraphrase an insightful line from Urinetown: “Nothing kills a musical like too much exposition.” Hadestown accomplishes the unique feat of presenting all of its exposition in the opening song “Road to Hell” and then quickly jumps into the blossoming love of Orpheus and Eurydice, which is soon contrasted by the faded love felt by Hades and Persephone. Both relationships elicit a complete spectrum of emotions before culminating in their inevitable conclusions. I’ve dismissed many musicals over the years because the writers fail to convincingly convey love, but with Hadestown I continue to hope that maybe the story will turn out differently on a new viewing, a theme that composer Anaïs Mitchell explores in the “Road to Hell” reprise when Hermes declares that the outcome is a “sad song, but we’re going to sing it again.”
My favorite moment in Hadestown (maybe my favorite moment in all musical theater) is the start of “Wait for Me.” The song is a true masterpiece, combining intense spoken word poetry from Hermes with two anthems from Orpheus – the impassioned “Wait for Me” chorus and the melody beautiful enough to open the walls of Hell. Two additional highlights are “Way Down Hadestown” for its joyous choreography and “Why We Build the Wall” with Hades’ deep-barratone message being echoed by the chorus.
#2 – Pippin
Patina Miller, Terrence Mann, and Matthew James Thomas from the 2013 Broadway revival cast
Unlike Hadestown, I was familiar with some of the songs from Pippin before I first saw the musical – they were often performed during my two-year show choir stint in the mid-90’s. Yet, Pippin (which debuted under Bob Fosse’s direction in 1972) was no longer on the regular performance circuit when I started seeing musicals in the mid-80’s possibly due to very racy lyrics and choreography. My first viewing was the acclaimed 2013 Broadway revival, which enhanced the storyline with an ensemble of acrobats. By the end of this version (which I managed to see three times between New York and Chicago), I could not imagine Pippin without the circus feats, but I have since learned that Pippin is just as enjoyable when done minimally, like the 2018 production in the Mercury Theater’s cabaret space.
While “Magic to Do” is an exciting opening that establishes a direction for the next two hours, Pippin really gets started with the first notes of “Corner of the Sky,” and I remember the beginning of Mathew James Thomas’s Broadway performance in 2013 – his voice expanding like crystal through the theater when he hits the chorus: “Rivers belong where they can ramble. Eagles belong where they can fly.” Pippin is a highly relatable character as he searches for a purpose in life – a path to finding inner contentment with no idea where to start. His father Charlemagne expects Pippin to use tyranny to establish power. His grandmother Berthe encourages Pippin to enjoy life in the always fun sing-along “No Time at All.” In one of the great Act I finales – “Morning Glow” – Pippin tries to find meaning by establishing peace. When the lead player and his troop expect Pippin to sacrifice his life in a climactic spectacle, Pippin refuses.
Hadestown and Pippin share two notable qualities. They both present characters from long ago (mythical and historical) in modern settings, emphasizing the timelessness of their struggles. Also, both involve characters who embark on a physical quest (Pippin throughout Europe / Orpheus down to the underworld), but the challenges they must overcome are more internal than external.
#3 and #4 – Preview
I originally planned to write about all five of my favorite musicals in one post before realizing that post would be far too long. Therefore, in a homage to the method that Aurora’s Paramount Theater presents its upcoming seasons, I am going to release a preview. See if you can guess the next two musicals based on the following sets of emojis. I hope to publish my 101st post soon.
Corrbette Pasko (muliple characters), Kate Fry (Ernestine) & Chiké Johnson (multiple characters)
Noah Hadles’s script is a showcase of all the complexities of living a full life. Ernestine, played to much acclaim by Kate Fry, begins in her teens and ends a centenarian in this fast-paced, provocative play. On the deeper levels, she considers questions like her place in the universe, but what resonates even more are the emotions one experiences while observing a family through multiple generations.
The cast was led by Ali Louis Bourzgui (Tommy), Alison Luff (Mrs. Walker) & Adam Jacobs (Captain Walker)
There are so many incredible aspects of The Who’s Tommy to discuss (the lead actors, the ensemble, the choreography, the lighting effects – to name a few) that one forgets what a high-stakes gamble this must have been for the Goodman Theater’s new Artistic Director Susan V. Booth. Original Broadway director Des McAnuff’s reimagining of this rarely-performed rock opera earned nine Jeff awards, set new box-office records for the Goodman, and secured a Broadway production beginning March 8. It was truly a sensation from start to finish.
Goodman’s much-anticipated production of The Who’s Tommy was as close to theatrical perfection as one can hope for – at least for a viewer like me who really loves rock operas.
The first musical I saw on Broadway was Tommy, and the sheer adrenaline of “Pinball Wizard” has always stayed with me. It was loud and colorful and built on an intensity of teenagers (at least singers and dancers playing teenagers) having an exhilarating experience. I couldn’t stand still in the lobby during intermission of that performance, and the same is true of the Goodman’s remounting, in which “Pinball Wizard” received a standing ovation on my second viewing.
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