Year in Review – 2024’s Best Musicals and Dance

January 5, 2025 theaterinchicagoreviews1776 musical, Adrian Aguilar, Andrew MacNaughton, Aurora Penepacker, Beth Stafford Laird, books, Chicago College of Performing Arts Pippin, Chicago Shakespeare, Emily Kristen Morris, Emma Samuelson, Erik Hellman, Evan Tyrone Martin, Goodman Theater, Heidi Kettenring, J Harrison Ghee, Jason Michael Evans, Jason Robert Brown, Jersey Boys, Kate Prince choreographer, Katie Spelman, Liz Bollar, Lucy Godinez, Marriott Lincolnshire Theater, Melody Murray, Mercury Theater, Message in a Bottle show, Michael Metcalf, music, Natasha Pierre and the Great Comet of 1812, Never Better musical, Paramount Theater, Richard R. Henry, Ryan Stajmiger, Shawn Smith, Spencer Davis Milford, Tanya Birl-Torres, Taylor Mac, The Lord of the Rings A Musical Tale, Theo Ubique, Tyrick Wiltez Jones, Writers TheaterLeave a comment

#1 Natasha, Pierre & the Great Comet of 1812 (Writers Theater)

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

#2 Midnight in the Garden of Good and Evil (Goodman)

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

#3 Midsummer Night’s Dream (Joffrey Ballet)

The ensemble in the opening number (using lots of hay)

How to begin describing what I saw on stage at the Lyric Opera House? I mistakenly believed this ballet was an adaptation of the Shakespeare play, but I quickly learned that the artists were interpreting the joys of a Scandinavian holiday during the summer solstice and the dreams that might follow a night of drinking. There was a celebration in the fields complete with hay, an extensive dinner at a very long table, and even a nonsensical slumber in which the company moved in perfect synchronicity like the segments of a caterpillar’s body. In short, it was one of the most strange, enjoyable, and majestic spectacles that I have ever observed. Video montage

#4 1776 (Marriott Lincolnshire)

Tyrick Wiltez Jones and Heidi Kettenring (John Adams and John Dickinson, center stage) surrounded by the cast

I loved the musical 1776 when I first saw it at the Marriott in 1987 at nine years old, and I loved the Marriott’s revival in 2002. I understand not everyone shares my view, but it is one of few musicals where I like every song, I laugh at all of the jokes (particularly those referencing John Adams as “obnoxious and disliked”), and I find the plot riveting as Adams, Benjamin Franklin (Richard R. Henry), and Thomas Jefferson (Erik Hellman) overcome external and internal conflicts to get the Declaration of Independence ratified. This production gains an extra spark from the gender-blind casting. Among a stage full of great performances, standouts included Tyrick Wiltez Jones as the exasperated John Hancock, Heidi Kettenring as the offensive John Dickinson, and Lucy Godinez as the scene-stealing Richard Henry Lee. Video montage

#5 Frozen (Paramount)

Paramount Theater spared no expense in bringing this Broadway-caliber production to Aurora. Utilizing a variety of projection screens and special effects, director Trent Stork’s team created magical transitions and plenty of snow. The musical itself is among Disney’s best stage adaptations with its relatable sisterly conflicts between Elsa (Emily Kristen Morris) and Anna (Beth Stafford Laird) and the adventures that ensue once Arendelle is turned to ice. Ryan Stajmiger was a true standout controlling the Olaf puppet with a staggering variety of facial expressions. Half the fun of seeing this family-friendly show, which runs until January 19, involved observing all the children reacting to their first theater experience. Video montage

#6 Never Better (Theo Ubique)

Emma Samuelson (Davy) & Jess Alexander (Dad/guitar)

Theo Ubique’s dedication to producing risky new works is highly commendable particularly when a musical as powerful as Never Better is the result. Telling the story of Davy (Emma Samuelson), a college student who is suffering from debilitating fatigue and a general sense of unwellness, Never Better considers the scenario in which a person is passively not seeking treatment for what might be a life-threatening illness. This content is well served with the rock-style music by Preston Max Allen and performances by a fantastic young cast including Melody Murray, Shawn Smith, and Liz Bollar as Davy’s roommate/best friend, boyfriend, and medical profession (respectively). Video scene

#7 Message in a Bottle (Cadillac Palace)

Imported from England, this spectacular dance show features 23 Sting songs in telling the story of a family displaced from their homeland due to civil war. The sheer athleticism of the dancers is on full display through choreographer Kate Prince’s artistic interpretations of the perilous struggles faced by refugees. I wish Broadway in Chicago had been more successful in marketing this show, which suffered from a lack of audience awareness. It was a stunning experience for anyone who enjoys dance, Sting’s music, or storytelling in general. “King of Pain” video montage

#8 Jersey Boys (Mercury)

Michael Metcalf (Frankie), Adrian Aguilar (Tommy), Jason Michael Evans (Nick) & Andrew MacNaughton (Bob)

19 years after its Broadway premiere, Jersey Boys remains the best of the jukebox musicals. I’ve lost count of how many times I’ve seen it, but every time I leave energized from the music and mesmerized by the script, which presents the trials of four flawed people creating their unique sound. As Nick Massi says: “None of us were saints. You sell 100 million records, see how you handle it.” This Chicago-grown company featured performances by Adrian Aguilar (Tommy DeVito), Jason Michael Evans (Nick Massi), Andrew MacNaughton (Bob Gaudio), and Michael Metcalf (Frankie Valli). Video montage

#9 Pippin (Chicago College of Performing Arts at Roosevelt University)

It is always a pleasure to see the emerging talent at Chicago’s many universities. Pippin is well suited for college students given that the main character is at the point in his life where he is searching for meaning while feeling unsure about the future. This performance in Roosevelt University’s black box theater offered the challenge of squeezing a large cast into a tiny space, but the tight blocking worked well with the Fosse-inspired dancing.

#10 The Lord of the Rings: A Musical Tale (Chicago Shakespeare)

Spencer Davis Milford (Frodo, center) & cast

I’m fascinated by the journey of this musical adaptation, which was staged in Toronto in 2006 with 65 actors, a runtime well over three hours, and prohibitive costs. It took the better part of two decades for producers to cut it down to the manageable show presented in Chicago, which is highlighted by the fantastic folk-style music and creative theatrical elements including lighting effects and lots of puppets. I’m not sure how purists of the trilogy felt about how much was condensed or cut from the books, but for me the fun coincided with the director and actors moving the plot along at a brisk pace. Video montage CBS News feature

Additional favorite musicals and dance shows in 2024

The 25th Annual Putnam County Spelling Bee – Music Theater Works
Atonement – Joffrey Ballet
Champion – Lyric Opera
Fiddler on the Roof – Drury Lane Oakbrook
Some Like it Hot – Cadillac Palace
Urinetown – University of Illinois Chicago

Two memorable concert performances

Idina Menzel: Take Me or Leave Me Tour – Chicago Theater
Rocky Mountain High Experience: a John Denver Christmas – Broadway Playhouse

Year in Review–2023’s Best Musicals

December 29, 2023January 3, 2024 theaterinchicagoreviews1776 Roundabout Tour, Adam Jacobs actor, Ainsley Anthony Melham, Alexander Gemignani, Alexis J. Roston, Ali Louis Bourzgui, Alison Luff, Angelica Hale, Bethany Thomas, Blank Theater Company, Boop the Musical, Brittney Brown, Caleigh Pan-Kita, Connor Ripperger, Dana Saleh Omar, Dustin Rothbart, Gisela Adisa, Goodman Theater, Heidi Kettenring, Jasmine Amy Rogers, Jonah D. Winston, Kokandy American Psycho, Kyle Patrick actor, Laura Sportiello, Liz Mikel 1776, Lucy Godinez, Mack Spotts, MarieandRosetta, MarriottLincolnshire, Matt Mueller actor, Michael Kurowski, MusicTheaterWorks, Neala Barron, Nick Arceo, NorthlightTheater, OnceWritersTheater, Patrick O’Keefe actor, PippinMusicTheaterWorks, Sonia Goldberg, The Who's Tommy, Theo Ubique, TommyGoodmanTheater, WritersTheater1 Comment

#1 The Who’s Tommy – Goodman Theater

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.

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Year in Review–2022’s Best Musicals

January 16, 2023July 20, 2023 theaterinchicagoreviewsAddie Morales, Alex Goodrich, Anna Marie Abbate, Ashton Norris, Austin Nelson, Caleigh Pan-Kita, Chicago Lyric Opera, Chicago Shakespeare, Copley Theater, Drake Wunderlich, Drury Lane Oakbrook, Elizabeth Stenholt, Emilie Modaff, Evita, Fiddler on the Roof, Fun Home, Godspell, Goodman Theater, Heidi Kettenring, Hello Dolly, Honey West, Jeffrey Kringer, John Cordoza, Jordan Tyson, Josh Houghton, Life After, Marriott Lincolnshire, Mercury Theater, Milla Liss, Milwaukee Rep, Paul Alexander Nolan, Priscilla Queen of the Desert, Rebecca Hurd, Richard Bermudez, Roosevelt University, Samantha Williams, Shaun White, Steve Pacek, Steven Skybell, The Notebook Musical, The Pajama Game, Theo Ubique, Titanic the MusicalLeave a comment

My list of the top 10 musicals of 2022 is a little belated. Note that I focused on Chicago-based productions, but this was also an outstanding year from Broadway-in-Chicago with traveling companies of Hadestown and Come From Away visiting early in the year, and Six holding a residency for several months at the CIBC.

#1 Fiddler on the Roof (Lyric Opera)

In the opening scene of director Barrie Kosky’s production (which he originated in Berlin), a modern American boy opens his bedroom closet to find not just Tevye but the entire tremendous cast stream through a set of double doors onto the crowded stage. The impact is a masterful articulation of the way that Fiddler connects the decedents of immigrants to the cultural hardships their ancestors reluctantly left behind. Steven Skybell as Tevye led an outstanding cast, and set designer Rufus Didwiszuz created the most memorable effect I can even remember viewing by covering the vast Lyric Opera stage with snow for the second act.

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Godspell—Theo Ubique (7/16/22) & Jesus Christ Superstar—Cadillac Palace (7/20/22)

July 26, 2022July 30, 2022 theaterinchicagoreviewsAnna Marie Abbate, Austin Nelson Jr, Broadway in Chicago, Godspell, Jesus Christ Superstar, Theo UbiqueLeave a comment

I’ll begin with the disclaimer that this comparison of productions of Godspell and Jesus Christ Superstar might imply a strong bias for Chicago’s storefront theaters over the Broadway in Chicago touring companies. I love both, but it does happen that this production of Godspell from Theo Ubique exemplifies the best of storefront theater, and the 50^th Anniversary tour of Jesus Christ Superstar is all volume and glitz with no substance.

Godspell and Jesus Christ Superstar are linked in many ways. Both premiered in the early 1970’s (Godspell Off-Broadway in 1971; JCS on Broadway in 1972) and explored the concept of Jesus as an anti-establishment hippie. Godspell is the first hit from American composer Stephen Schwartz, and Jesus Christ Superstar is the first hit from British composer Andrew Lloyd Weber, who was notably born just 18 days after Schwartz. Behind The Lion King, Schwartz’s Wicked and Lloyd Weber’s The Phantom of the Opera rank as the second and third most profitable musicals of all time.

Austin Nelson, Jr., directs a parable with Matthew Hunter at the center.

One of the advantages of a storefront theater like Theo Ubique is the potential for an intimate connection between the cast and audience. One of director Christopher Pazdernik’s main conceits for Godspell is that the actors are all playing versions of themselves. The exceptional lead Austin Nelson, Jr., is referred to as Austin (rather than Jesus) as he manically conducts the rest of the cast in acting out parables. The evidence of Nelson’s conviction to his role is present in the layer of sweat that streams down his face from beginning to end. Anna Marie Abbate is referred to as Anna Marie (rather than Judas or John the Baptist), and she plays the role with commendable subtly, displaying skepticism toward Austin’s teachings that foreshadows the character’s later betrayals. The entire cast is given a great freedom in acting out the parables, and they often insert modern allusions for comedic effect.

(front) Austin Nelson, Jr., Izzie Jones, Hannah Efsits & Ashley Saul

The set is a path running across the floor creating a perception that the characters are meeting in a park, and the audience are passersby who cannot help but watch the scenes emerging before them. The main cast of 10 manages to perform intricate choreography that never feels limited by the long, narrow shape of their stage, but the most significant highlight is the singing. Each of the 10 leads performs a song beginning with Izzie Jones’s infectious “Day by Day.” Matthew Hunter is another standout using powerful lead vocals in “Light of the World” before sending the audience into the intermission. All told, Godspell succeeds beyond expectations at using its small space to provide a memorable experience for its audience, who is close enough to touch the action.

Jesus Christ Superstar, on the other hand, seems to be working toward the opposite ambition of isolating its audience from the emotions of a powerful musical. Early on, I realized that the presentation was more consistent with a rock concert than a performance of musical theater. The lead actors held microphones and often played guitar during their solos (remaining mostly stationary to the action), which is an interesting idea for a rock opera. However, in practice it led to a sense that each song was its own separate entity. Therein lies the main problem with this production. When the talented Jenna Rubaii as Mary sings a countrified version of “I Don’t Know How to Love Him,” she is more reminiscent of Carrie Underwood singing on stage rather than a character dealing with complex issues. Similarly, Aaron LaVigne as Jesus seems to be channeling Steven Tyler during “Gethsemane” (known by the repeating lyric “I’d Want to Know, My God”). He demonstrates his frustration at God by throwing the microphone stand upstage, but such antics are a distraction when the song itself—usually my favorite in the musical—communicates so much about Jesus’s mindset. Omar Lopez-Cepero as Judas focuses more on jumping around his significant vocal range than articulating what Judas had to say. What astonished me most was I left the theater not humming a song, which was far from the case after my two viewings of the superior 2017 production at the Paramount Theater.

Aaron LaVigne (Jesus) & Jenna Rubaii (Mary)

The concept is consistent with the origins of this official 50th anniversary tour, which began at the open air theater at Regent’s Park in 2016, and what I sat through in Chicago would have worked well in an outdoor amphitheater with half the seating of the Cadillac Palace. At the very least, the opening chords of the overture would have been less ear-splitting in their volume. This production is not unbearable, but it needed someone at some point to consider that less can be more when starting with a compelling story and a full roster of memorable songs.

Both Godspell at Theo Ubique and Jesus Christ Superstar at the Cadillac Palace run through July 31.

Year in Review—2019’s Best Musicals

December 31, 2019 theaterinchicagoreviewsBethany Thomas, Big Fish, Brianna Borger, Broadway, Color Purple, Come from Away, Eben K Logan, Evan Hansen, Goodman, Hedwig Angry Inch, Into the Woods, Michael Mahler, Monica West, Music Man, Musicals, Paramount Theater, Robert Quintanilla, Sean Blake, Six the musical, Spitfire Grill, Steven Levenson, Theo Ubique, Tommy ThurstonLeave a comment

#1. Six (Chicago Shakespeare)

I was skeptical about a rock musical starring the wives of Henry VIII until I learned that my friend’s teenage daughters were already devoted fans. Six (like Hamilton before it) is a testament to the power of using reimagined history to tell a story that reflects our contemporary world. Every song is a winner—particularly “Don’t Lose Ur Head” and “All You Wanna Do”—in this fun, inventive musical with a powerful feminist conclusion.

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