Heartstrings Awards Announced Recognizing the Most Meaningful in 2023 Chicago Theatre

Theatre in Chicago has thrived in 2023. The stages around the city, big and small, have been blessed with brilliant actors bringing to life the text of gifted playwrights under the direction of the city’s best creative visionaries.

The Heartstrings Awards serve to acknowledge the most meaningful performances and productions of the year. They are bestowed by Life and Times, under the direction of chief theatre critic Rikki Lee Travolta.

As follows are the winners, each with a personal explanation by Travolta.

PERFORMING CATEGORIES

If the Heartstrings Awards didn’t exist before, they would have to be invented if only to recognize the amazing impact of Eric Stephan’s performance as Sally Bowles in “Cabaret” at Porchlight Music Theatre. I knew at the time that I was seeing the birth of a star.

Erica Stephan put on the most meaningful performance of the year when she took the stage as Sally Bowles in “Cabaret.” She brought out elements of the character that have rarely, if ever, been developed before. As a result, she touched hearts in a way no actress has done before with the role.

Erica Stephan rightfully won the Joseph Jefferson Award for her performance. Producers of the new
“Cabaret” revival coming to Broadway would do well to keep Mr. Stephan’s number on speed dial as a future Sally Bowles.

Kokandy Productions’ Chicago premiere of the Broadway musical “American Psycho” was a resounding hit. Critics and audiences raved about the production. I was one of them.

This was my first time in Kokandy’s playground, and I must say I am a fan. They understand the value of spectacle.

While the direction of “American Psycho” by Derek Van Barham was excellent and the supporting cast divine, it was the performance of lead actor Kyle Patrick as Patrick Bateman that made the show. There were other great performances by actors in male roles in musicals, but none as impactful and as meaningful as Kyle Patrick’s turn in “American Psycho.”

This is a character that Kyle has perfected. There are actors who make a nice living with a specialty role. I was fortunate enough to have a few such signature roles with Tony n’ Tina’s Wedding, West Side Story, and Joseph and the Amazing Technicolor Dreamcoat. “American Psycho” has the potential to be a cult-hit. If productions start popping up across the country or if someone like Troika was to launch a bus and truck tour, Kyle would be the ideal cat to jump from town to town.

Court Theatre’s delightful production of “The Lion in Winter” featured a phenomenal cast. This helped Rebecca Spence stand out in this year’s most meaningful performance by a leading performer in a female role. This exquisite actress found the pain, the joy, the strength, the hope, the fears, and the humor of one of the greatest roles in theatre.

From my review: “Rebecca Spence is breathtakingly good as Eleanor. To say her performance is highly nuanced is an understatement. She shows us all the emotions that Eleanor goes through – happy ones, angry ones, and tearful ones. As astonishing as she is in dramatic moments, Spence also has impeccable comic timing, finding all the underlying humor in the script. In the hands of a truly gifted actress, this is an award-worthy role. Spence is not only gifted, she is a gift to experience. Her performance is one of the best of the year.”

There are actors who you can’t take your eyes off of. That’s the type of actor you need for the role of Scratch in “Witch” – a literal devil of a salesman. Julian Hester put on a captivating performance. The Artistic Home’s production may have been smaller than some of the other big-name theatres around town, but that’s just proof of how diverse the Chicago theatre scene is. Hester’s performance in “Witch” was truly one of the best of the year – hands down.

I couldn’t put my feelings better now than I did at the time seeing the production, “Julian Hester is magnificent as the devil, Scratch. His charisma is almost electric and certainly borders on magical. In the close quarters of The Den Theatre, Hester never breaks for a moment. Every second is focused, with an intensity of divine proportions.”

Alina Taber established herself on television on “Chicago PD,” but has recently put a focus on her theatre roots. As perennial bad girl Betty Rizzo in Grease at Drury Lane, Taber proves to have the triple threat skills to make quite the mark on the Chicago theatre scene.

I think that’s exactly what is reflected in my review, “I have seen some very talented actresses play Rizzo, but I have never seen anyone play the role so perfectly as Alina Taber. Her singing is excellent. Her dancing is excellent. Her acting is stunning. She achieves things with the role that I never even thought of before. Alina Taber is simply marvelous.”

Paramount Theatre has pulled out all the stops with its BOLD Series at The Copley Theatre. “Next to Normal” was a powerful production on many levels. The entire cast was phenomenal, so for one actor to stand out above others is pretty impressive. Devin DeSantis was totally captivating as Dr. Madden. There was humor, drama, and some damn amazing vocals. It was one of the best and most meaningful musical theatre performances of the year.

In my review, I say simply, that “he is so good it hurts.” I further say of DeSantis, that he is “a brilliant actor, able to switch gears on the fly in mesmerizing fashion, and his vocals are incredible.”

“Redtwist ‘Agnes of God’ Should Sell Out Every Performance” – that was the headline for my review for Life and Times. The supporting performance of Soleil Pérez as Sister Agnes was pivotal to the success of the show. Of the young actress I wrote, “Pérez exquisitely captures the total wide-eyed innocence that the character requires when first introduced. Yet the depths of emotion that she is able to go to later in the play are simply awe-inspiring. For an actress to go to that emotional place every performance night is an astounding achievement.”

“The Crucible” is a powerful piece of theatre. While the challenging lead roles in “The Crucible” are among the most sought-after by actors, sometimes it is the supporting performers who make all the difference. James Turano was the difference maker for the intense Invictus Theatre Company production.

From my review: “Turano turns in an absolutely amazing performance. He is a masterful dramatic actor. He also finds the humor in the absurdity of the lengths the deputy governor will go to in order to justify dismissing the truth because to admit it would be too crushing to his ego… Yet although Turano shows the grotesque absurdity in the situation, he never ever makes his character comedic. Turano is adept at all the emotions and tricks necessary to make his Danforth a searing, villainous man yet still a real man.” 

Like a heavy metal version of Shakespeare’s Puck, Michael Metcalf as Lonny in Mercury Theater’s production of “Rock of Ages” was infectious. He grabbed the audience right from the start and took everyone on a ridiculously fun ride – and he was the biggest reason it was fun. Metcalf has been impressing audiences in Chicago and the suburbs and we expect even bigger things in the future.

Michael has been on my radar for a while. No matter what type of production, no matter what type of role, he always delivered. I admire that he is always moving his career forward. This role at the Mercury Theater is a “most meaningful” because it is yet another leap forward in Michael’s career. The sky’s the limit.

For his appearance in “Rock of Ages”, my review states, “He is infectiously charismatic and funnier than words.” Honestly, those words alone don’t do justice to the pride I felt watching Michael absolutely kill it on the Mercury Theater stage. He is an actor whose time is coming.

You don’t have to be the lead character to make the ultimate difference in a theatrical production. Leah Brock proved this in the Metropolis Performing Arts Centre production of “Ragtime.”

From my Life and Times review, “Although she doesn’t have a lot of dialogue, Leah Brock captures the attention of the audience as Sarah’s Friend, another black woman facing oppression and violence at the hands of the police and government. Her solo work in the Act 1 closer Til We Reach that Day makes her one of the most memorable parts of a show filled with outstanding moments.”

Donovan Hoffer made a name for themselves on “America’s Got Talent,” but their talent is legit. Mercury Theater’s “Rock of Ages” was one of Chicago’s best musicals of the year. Hoffer was a big reason why. Stacee Jaxx may not be the star role of “Rock of Ages” but in the hands of an incredible actor it can be the most memorable.

“Donovan Hoffer is as good as any rockstar I’ve ever seen – and that’s the world I live in. Their Stacee Jaxx is a wet dream version of Bret Michaels infused with the talents of Prince and Freddie Mercury,” is how I summed up Donovan’s stellar performance. They simply rocked the stage.

The Heartstrings Awards typically include awards for young people in performing roles. I got my start as a child actor and so I understand full well the pressures that are on a young performer to measure up to the adult cast in both on-stage talent and off-stage maturity.

While Vivian Webb and Lilly Fujioka are both teen actresses and would qualify for a young person’s award, in this season’s awards they hold their own in the adult competition for their alternating performances in the role of The Debater in “What the Constitution Means to Me” from Paramount Theatre’s BOLD series in the Copley Theatre.

At the end of the regular performance, whichever young lady is performing that night engages in a real onstage debate on if the Constitution in its present state can be saved. It’s a heavy subject that the teens handle with aplomb.

It is a small role, thus qualifying as more of a cameo. But it is impactful – requiring both acting skills and debate talents.

Sometimes the best performances come from the smallest characters. While Edge of the Wood’s production of “Light up the Sky” was filed with stellar performances from an all-around excellent cast, Dakotah Brown captured everyone’s attention with his whirlwind appearance as a Shriner.

From my review: “Packing the most impact possible into a small amount of stage time, Dakotah Brown absolutely steals the show in his appearance as Shriner William H. Gallegher. Brown’s enthusiastic, high-energy performance would make late Chicago comedy legends Chris Farley and John Belushi proud.”

Elin Joy Seiler was one of the big shining reasons to see Marriott Theatre’s heartwarming production of “Gypsy.” While the adults got to chew the scenery, child actress Elin Joy Seiler was perfect as a Shirley Temple-inspired Baby June. We’re looking forward to seeing more of Seiler as her career unfolds.

In my review, I state of Elin and co-star Milla Liss, “It is always astounding to see children with this level of skill and maturity.”

Alexander Garcia is still a teenager, but starting to turn heads with his acting. Such was the case with his performance in “Prodigal Son” at Elgin Theatre Company.

“Barrington High School student Alexander Garcia gives a tour-de-force performance as Jim Shanley. He has a certain natural charm that is easy for the audience to connect to. Indeed, Garcia has a lot of natural talent that could really turn into something special if he embraces the dedicated study of different acting techniques,” is how I summarized my impression of Jim in the Life and Times review of “Prodigal Son.”

One of the strongest directorial choices for the Metropolis Performing Arts Centre production of “A Christmas Carol” is the inclusion of a new character:  Winter – a sprite who interprets the emotional temperature of each scene in dance. Bringing choreographer Kaity Paschetto’s vision to life, Emma Grace Bailey is a vision in white. Bailey’s technique is a thing of beautiful fluidity. Her magical interpretation of a magical character is simply breathtaking.

Sometimes there is someone in the ensemble who has few or no lines, but can still capture the unwavering attention of the audience. Mollyanne Nunn has an incredible performance charisma. She is a talent to watch out for – as exemplified with her performance in the ensemble of Music Theater Works’ amazing production of “Pippin.”

Will Leonard played a caveman ancestor in “The Addams Family” at Metropolis Performing Arts Centre. Cavemen aren’t known much for their vocabulary, but Will Leonard’s caveman didn’t need words to connect to the audience. From his first entrance to his last exit, Leonard hits a home run – showing that all you need to do to stand out in the ensemble is to be amazing.

During the intermission of “She Loves Me” at Citadel Theatre, I was advised that the actor playing the character or Steven Kodaly was the understudy. “You mean the best performer on the stage is an understudy?” I replied.

That’s no dig at the rest of the cast. “She Loves Me” is the best overall production that Citadel Theatre has done to date, so no offense was meant to the other wonderful actors. I was just that impressed with the performance of that one actor: Trey Mendlik.

I have to admit it, I was largely indifferent to the musical “Ragtime” the first time I saw it a number of years ago. In fact, I wasn’t terribly excited to review it again at another theatre. Yet, the production at Metropolis Performing Arts Centre totally changed my view of the musical. Credit the entire ensemble for this. They took what was wrongly thought to be a so-so title and turned it into a must-see spectacular.

“Into the Breeches” was brought to the stage this season by iambe theatre ensemble in brilliant fashion. The company exists not just to create great theatre, but specifically to give female performers who have graduated from ingenue roles a chance to shine.

The cast of “Into the Breeches” was extremely talented, enough to overcome a somewhat unbalanced script. As I stated in my review: “The cast of iambe theatre’s production of ‘Into the Breeches’ certainly does overcome the problems in the script and gives us a production filled with laughs and tempered by thought-provoking moments. That is a testament to the talents of the wonderful actors and actresses baring their souls on stage for the enjoyment of those of us lucky enough to be in the audience.”

While there were many great moments in the iambe production, there is one element that put them over the top for award recognition.

“Into the Breeches” tells the story of a handful of female thespians putting on a play during World War II while the male company members are off at war. To play male roles, the female actresses at one point dawn prosthetic testicles in an effort to teach themselves to walk like men. The ensemble’s work in that scene alone had me cracking up for weeks after seeing the show and locked them in as the Most Meaningful Ensemble Performance of the Year in Chicago theatre.

CREATIVE STAFF CATEGORIES

Costumes don’t have to be flashy and elaborate to be meaningful. Patti Halajian is one of the hardest working costumers in the Chicagoland area. She is meticulous with her approach to making sure everyone on stage looks their best. For “The Book of Mormon” Patti nails the authenticity of outfits for a pair of Mormons and for the legendary Ethel Merman and showcases her overall commitment to excellence.

While costumers are known for putting lead actors in brilliant outfits, their work with the background ensemble can be just as impactful, and therefore just as meaningful. For “Shrek The Musical” by Music Theater Works at North Shore Center for the Performing Arts, Rachel M. Sypniewski is at the top of her game. From the leads to the ensemble, the costumes are fun and brightly colored adding a whole extra element of spectacular to the production. Sypniewski provides a big bold vision that you can’t help but enjoy.

When you tackle costuming a show like “Into the Woods”, you have your work cut out for you. The musical is filled with all the most identifiable characters from childhood fables such as Little Red Riding Hood and the wolf that terrorizes her, a bevy of princes and princesses, and a magical witch who needs to cast an intimidating shadow. Jordan Ross hits a homer with Paramount Theatre’s epic “Into the Woods” – adding to the impact of one of the company’s best shows in its history.

The authenticity of the countless props for “A Distinct Society” at Writers Theatre this year were outstanding. The play takes place in a library, and the details that went into creating a realistic environment for the actors to perform in were inspirational. There are books upon books, each one selected specifically for the show. There is library equipment that has to look authentic and appear to function that way as well. There’s even food that has to be spilled and cleaned up each performance. Properties designer Rae Watson truly did a herculean job with “A Distinct Society”.

The Factory Theatre in Rogers Park is roughly the size of a postage stamp. Of course, that’s an exaggeration, but it is an intimate space. That’s what makes what Benjamin Carne was able to do with lights for “The Kelly Girls” all the more special. Benjamin’s ability to change scenes or change the emotional temperature of the room was handled with the utmost precision. It’s proof that you don’t have to have the theatre with the most elaborate and expensive tech set up in order to do great things.

Having the most elaborate tech setup available does have its advantages. Goodman Theatre’s production of “The Who’s Tommy” captured the hearts of all Chicago theatregoers – and rightfully so. The production is now headed to Broadway, where I expect it will dominate the Tony Awards the same way it dominated the Joseph Jefferson Awards in Chicago. Among the many brilliant aspects of the production, Amanda Zieve redefines the word “creative” with her lighting of “Tommy.

Writers Theatre thrilled audiences with a picture-perfect adaptation of “Eurydice” this year. The cast was marvelous. The direction was stellar. The set was abstract, yet both functional and beautiful. Among all these attributes, sound design by Jeffrey Levin deserves special recognition. Levin’s mastery of sound and how to use it was a big part of why “Eurydice” was so powerful and touching. When a sound designer makes the kind of impact Levin did with “Eurydice” they deserve an award.

When you have two performers on stage who need to play piano and guitar and are able to fully disguise when they are playing versus when they are pretending to play and the real music is being generated offstage, then you have found one of the best sound designers in the Chicago theatre world. In this case, that honor goes to Rick Sims for his work on Northlight Theatre’s “Marie and Rosetta.”

Sitting in the audience, you would have been convinced that the two actresses in the musical were generating their own sounds on piano and guitar. However, the real music was being played offstage by conductor Morgan E. Stevenson (piano) and Larry Brown (guitar). It is, of course, Sims that blends and mixes all the sounds to perfection.

I review entertainment a little different than others. I review based upon how well the theater does with the tools at their disposal. It’s unfair to compare the set of a theater with hundreds of thousands of dollars budgeted for each show versus a theatre counting the pennies to put some kind of set together at all.

Redtwist Theatre is a small storefront entity, but they are committed to doing great work. And that shows not just in direction and acting, but in all aspects of how they run the company.

Rose Johnson’s set for “Agnes of God” was not complex, but it was moving and added a whole new dimension to the show. Rose’s work was clearly some of the most meaningful of the 2023 theatre season in Chicago.

Eric Luchen has done a number of great sets in the 2023 theater season. I’ve seen his work on display at The Black Box Theatre at MCC, Metropolis Performing Arts Centre, and Citadel Theatre and I can’t point to any of the shows I’ve seen that he’s been involved with as having a subpar set. He always delivers the goods.

“Airness” at Citadel Theatre had what is probably Eric’s best work of 2023. The story is about people engaging in air guitar competitions at local bars. As such, Eric created a very detailed, very realistic set that made it feel like you have really just stepped into a local watering hole.

TimeLine Theatre Company’s “Boulevard of Bold Dreams” was very powerful. It featured an excellent script and very strong acting. From the moment the audience entered the theatre, they knew they were in for something special simply by the incredible detail of the set. It was not only one of the best sets of the year, it was one of the best sets I’ve ever seen in live Chicago live theatre.

From the Life and Times review: “Parked away in TimeLine’s unique, inventive black box space, the set for Boulevard of Bold Dreams from scenic designer Ryan Emens is immaculate and incredible. The millwork on the bar is exquisite. The painting is ideal.”

Paramount Theatre has a reputation for having the best sets in Chicago, and this year was no different.

Paramount put on one of its best shows to date with “Into the Woods”. The casting, direction, and costumes were all phenomenal. Musically, it was on par with Paramount’s high standards of excellence. There were no cut corners or missteps with this amazing production. And, right from the start, the mood is established with Jeffery D. Kmiec’s astounding set.

“Ring of Fire” is all about the music of the late Johnny Cash. It features two actors playing Johnny, one covering his early days and another covering his later life. For the production at Drury Lane, the creative team utilized some really stellar projections throughout the production to enhance the mood of each scene. The projections never took over the performance, but rather danced in and out as the perfect compliment to what action was taking place on stage. Credit this to Anthony Churchil.

There were a lot of theaters that used projections this year – ranging from small theaters to the grandest stages in Chicago. It’s clearly a trend that we’ll be seeing more of. The way Anthony handled the projections for “Ring of Fire” demonstrates that the art can be a very important part of the storytelling process.

Most plays and musicals today start off with a curtain speech – either live or recorded. We’re told to shut off our cell phones, make note of where the exits are, and take precautions not to spill any beverages that have been snuck in. Some theater companies use a straight forward approach to pre-show announcements, while others infuse a lot of humor into their. Out of al the pre-show announcements in Chicago this year, Alexa Ulrich did it best with her audience directions prior to performances of “The Whistleblower” at Theatre Wit. This shows that every element of a production, even pre-show announcements, can have an effect on the enjoyment factor for those in the audience.

Fighting choreography can add incredible realism to a drama. With a name like Babes with Blades Theatre, the producers of “The Duchess of Malfi” could be expected to offer elite level fight choreography, which is exactly what they did. Maya Vinice Prentiss provided excellent fight choreography throughout the production, with a few very notable big fight scenes. One of those scenes involved battle with unconventional weapons – including a sizable religious cross taken off the wall. The choreography was both effective and inventive.

Chicago is home to some great stage combat choreographers. We are a theatre city, known for al aspects of live entertainment. This includes some of the best fight choreography in the country.

For 2023, the most meaningful hand-to-hand fight choreography comes from David Bixt. David’s work in Witch at The Artistic Home was gritty and real. The realism is what was most shocking, because the venue is so small that there is little space between the performers and the audience. To be so close to the action and not have it seem fake once is a testament to great planning and execution.

“Most Meaningful” can have a lot of meanings and applications. Sometimes it means the best overall, and sometimes it means the best under challenging circumstances.

Skokie Theatre is a company that isn’t afraid to try new approaches. “A Chorus Line” is a musical about dancers competing for roles in a Broadway tour. Typically, this means that the primary goal is to astound the audience with Broadway-caliber dancing. For the Skokie production, the theatre company opted to stress the characterizations, casting primarily actors who were non-dancers. This gave choreographer Susan Pritzker a very unique challenge – choreograph steps easy enough for those with little or no dance training but present an image of Broadway-level difficulty. Hats off to Pritzker for her remarkable efforts.

Marriott Theatre has a reputation for hiring the best directors and choreographers for its productions, using both local talent and importing other professionals from around the country. Tyler Hanes is a Broadway star who has dazzled audiences as Rum Tum Tugger in “CATS” and Larry in “A Chorus Line”. It makes sense that someone of such talent would cross over into choreography.

Tyler has choreographed for stage and television, including “Dancing with the Stars” and multiple Kristin Chenoweth vehicles. His work on “Damn Yankees” at Marriott was simply outstanding. Hanes’ first major professional role was in the first national tour of “Fosse”, making his choreography of this Fosse-musical all the more meaningful.

From Life and Times: “Tyler Hanes translates Fosse’s intent and style with his own creativity and the result is some amazing dance.”

Nothing in Chicago theatre can compare to the choreography of Lorin Latarro for the stunning revival of “The Who’s Tommy” at Goodman Theatre. Now headed to Broadway, the production has award-winner written all over it. Expect it to clean up at the Tony Awards in New York the same way it dominated awards programs in Chicago.

There are choreographers who are great and then there are ones who are revolutionary – inventing new ways to do things. In the tradition of Bob Fosse and Jerome Robbins, choreographer Lorin Latarro is about to set Broadway on fire and the pieces were established in Chicago at The Goodman.

 “The Kelly Girls” is the kind of theatre that people who want to have a career in theatre need to be doing. Putting on a production of this quality on the budget they had was an astounding achievement – and that starts and ends with the director. Spenser Davis earns “The Kelly Girls” for creating the perfect example of barebones quality storefront theatre.

From my review: “Davis, as a director, has created something searing and indelible. He masterfully weaves his touches into the (Shannon) O’Neill script. As brilliant as the text is, this is a production where the talents of the director are equally apparent.

This is how my review of Sean Hargadon’s production of “D.O.A.” at Steel Beam Theatre started:

“It is amazing what can be done with a bare stage when put in the hands of a remarkable director. With a talented ensemble, creative lighting, and a few simple props director Sean Hargadon shows that you can do amazing things with the stunning thriller “D.O.A” at Steel Beam Theatre in St. Charles.

Factor in the addition of a few creative uses of color in the costuming and the wandering ebb and flow of a meticulously selected jazz soundtrack guiding the audience’s emotions, and what Steel Beam Theatre has on its hands is a bonafide work of art.”

That pretty much says it all.

I loved pretty much everything about Braden Abraham’s direction of “Eurydice” at Writer’s Theatre. Starting with the concept and then factoring in casting, character development, staging, and technical flourishes, “Eurydice” was a masterpiece.

From my review: “New artistic director Braden Abraham shows himself to be capable of absolute brilliance. If his inaugural production as the artistic visionary for Writers Theatre is an indication, the company is on course for an exceptional future.”

Shakespeare done bad is painful. Shakespeare done right is heavenly.

Barbara Gaines has been doing Shakespeare right for several decades. This year she ended her tenure as the artistic director of Chicago Shakespeare Theatre, a post she’s held since starting the company in 1986. And she goes out with a bang. You would be hard pressed to find a better Shakespeare adaptation this year than “The Comedy of Errors”. Gaines goes out a winner, and with the thanks and appreciation of the entire theatrical community for her years of service to Chicago’s fine arts profile.

Citadel Theatre took a massive step forward with its production of “She Loves Me”. The staging was sweet, lively, and fully enthralling. Starting with stellar casting and extending to all aspects of putting on a musical, Citadel knocked it out of the park with this foray.

From Life and Times, “The cast is magnificent, and the direction is exquisite. Citadel’s ‘She Loves Me’ is award-worthy theatre.”

Lauren Berman is not only the director of “Ride the Cyclone”, she is the driving force behind 4 Chairs Theatre. Berman’s commitment to creating entertainment that can thrill or make you think deserves the utmost respect.

Berman and 4 Chairs Theatre were originally going to stage “Ride the Cyclone” in 2019, but COVID-19 shut down the country. Undeterred, Berman brought her vision to the stage in 2023 with an incredible cast of young talent.

Young adults poured in from all over the country to see Berman’s “Ride the Cyclone.” I am neither a young adult nor did I have to drive from a neighboring state, but I loved her vision just as much as all the elated, cheering young people in the audience.

From my review: “Berman has taken an engaging, hysterical, and emotionally moving script with catchy, peppy songs and created a modern masterpiece.”

Sometimes the most meaningful thing is also the best thing. Des McAnuff’s production of “The Who’s Tommy” at the Goodman Theatre was criminally good. It is now headed to Broadway where it will probably clean up at the Tony Awards. It is that good – and that’s thanks to the visionary direction of McAnuff – who is still making magic in his 70s.

Most meaningful about McAnuff’s direction of “The Who’s Tommy” is that he’s done it before, yet this time he does it different. McAnuff co-wrote the stage adaptation of “The Who’s Tommy” with Pete Townshend, which he then brought to the stage to win the Best Director Tony Award in 1993.

McAnuff could have very easily sleep walked through putting on a new revival of “The Who’s Tommy”, but what’s the fun in that. For the 2023 production, McAnuff totally reimagined the work, and the result is amazing. And he did it by using cutting edge technology and bringing it to the stage. This production would not have been possible 30 years ago when McAnuff first staged the show. The technology simply did not exist.

PRODUCTION CATEGORIES

Jay Geller runs a tight ship as the head of theatre at McHenry County College. During the school year the theatre produces productions with student and community talent. During the summers, Geller helms professional productions in the space. In both cases, the quality is rock solid. I can’t think of a production that Jay has directed that the audience hasn’t left having been changed in some way.

The version of “Frankenstein” that Geller put on this year is from a new script by Danielle Mohlman that I absolutely love. The focus is on author Mary Shelly and the echoes of trauma that plagued her as she wrote what would become a genre-defining book at the age of 18. The script is fresh. The story is dark, but riveting. And the young actors from the school and surrounding areas were fully up to the challenge of doing justice to the script. Student actress Trinity Anderson gives the performance of a lifetime.

Proving it doesn’t take a big cast or a lot of special effects to make great theatre, Northlight’s production of “Marie and Rosetta” proved this. In fact, in my review I compared viewing the production to that of a religious experience.

You could call “Marie and Rosetta” a play with music or you could call it a musical, it’s right on the bubble. But either way, in the right hands, it can prove amazing. Such magic happened at Northlight thanks to actresses Bethany Thomas and Alexis J. Roston and director E. Faye Butler and her creative team.

The show details the merger of talents of real-life music pioneers Sister Rosetta Tharpe and her protégé Marie Knight, It offers up selections ranging from Gospel to Blues, and every song spoke to me – not the words, but the emotion of the singers.

From my Life and Times review: “If I had the right producers on speed dial, I would repackage it for an extended run in the city or possibly New York. Northlight’s Marie and Rosetta is better than a lot of shows on Broadway.”

The Annoyance Theatre is an oasis of comedic irreverence where people know they can always go for a good time. The Annoyance is most famous for its hysterical parody and sketch comedy. “LIGHTS” is written by, directed by, and stars Annoyance House Ensemble members Anna Weatherwax and Traer Schon. “LIGHTS” is a fitting winner for the award for sketch comedy because the show itself lovingly spoofs sketch comedy artists. I love artists who are out there making their dreams come true through hard work. Hats off to Weatherwax and Schron for creating something both brilliant and fun.

The Second City is an improv and comedy troupe that has featured some of the biggest names in entertainment come through its ranks. Seven nights a week, Second City’s talented performers take on the task of making the world laugh – and they do a side-splittingly darn good job of it. 

“Oh, The Places You’ll Glow” is an example of the best in improv for 2023. The show features the exceptional creative talents of Meghan Babbe, Leila Gorstein, Claudia Martinez, Tim Metzler, Jordan Savusa, and Brittani Yawn under the impeccable direction of Jeff Griggs. 

Parodying everything from dating a MAGA-minded denier to seeing who really wears the pants in the family between the devil and his wife, the cast keeps the audience in stitches the whole night through. Chicago is known for excelling in a lot of things. We’ve got great pizza. We’ve got a great Blues music scene. And, with companies like The Second City, we’ve got the best improv in the world. 

The Factory Theater is dedicated to creating new works. They put on new plays that they develop internally. They’ve been doing it for 25 years.

Shannon O’Neill is not only the co-artistic director of The Factory Theatre, she is also a talented playwright. Her script of “The Kelly Girls” deals with complex subjects – the IRA and politics in Northern Ireland in the 1960s. Yet, O’Neill’s script is easily digested by non-political historians. It is a story about freedom and individuality that could be applied to any wartime scenario.

From my review: “An undeniably magnificent, intimate drama.”

“American Psycho” was a brilliant book about a young investment banker in the 1990s living a double life as a serial killer. Then, it was made into a brilliant movie starring Christian Bale (replacing Leonardo DiCaprio who was attached to star but dropped out during the development phase).

In 2013, a stage version premiered in London. It then had a short Broadway run in 2016. This year, Kokandy Productions took a gamble on making the show’s Chicago premiere its focus – and boy did it pay off. Thanks to great direction by Derek Van Barham, a great cast, and most of all a brilliant leading man in Kyle Patrick, it knocked my socks off – and those of practically everyone who managed to get tickets.

From my original review of Kokandy’s “American Psycho” that predicted it to be one of the biggest hits of the year: “The talent that struts, pouts, and explodes in the embrace of sin after sin invokes a sense of awe from every member of the audience. Based on the overall quality achieved by producing artistic director Derek Van Barham, American Psycho: The Musical should play to nothing short of standing-room-only audiences for the duration of its stay in Chicago. It’s that good.”

Bringing a new work to the stage for the first time is a dream for a lot of artists. But the amount of work, creativity, and problem-solving involved leaves many of these dreams unfulfilled.

“Boulevard of Bold Dreams” is a powerful show in terms of subject matter, dealing with the importance of Hattie McDaniel’s Oscar win for “Gone with the Wind.” She was the first black actress to win an Oscar, making the event a big step forward for equal rights. However, what the history books have glossed over is that McDaniel wasn’t allowed in the venue where the awards were being presented (other than to be ushered it to accept her award). Nor was she allowed to use her own acceptance speech, instead having to use a vanilla one scripted by the movie studio. Racism was, and is, still clearly an issue.

Written by gifted scribe LaDarrion Williams, the play examines the social tensions and personal pressures in the hours leading up to Ms. McDaniel’s appearance at the 1940 Oscar ceremony. TimeLine Theatre Company strives to explore today through the lens of the past, and “Boulevard of Bold Dreams” fits spectacularly well into that mission. 

While the Jim Henson Company is most famous for the Muppets and their various colorful offshoots. But they also create magic for both children and adults in other ways. The company engages in everything from non-Muppet puppets to digital animation. Why not add live stage shows to the mix?

Emmet Otter’s Jug-Band Christmas was a television special directed by the late Jim Henson in the 1970s. It was based on the children’s book by Russell Hoban and featured music by Oscar-winner Paul Williams.

Now, in partnership with iTheatrics, the Jim Henson Company has brought the story to life on stage with dizzying excellence. The Chicago premiere of “Emmet Otter’s Jug-Band Christmas” at the Studebaker Theater under the direction of Tony-winner Christopher Gattelli was incredible. It has all the magic of an episode of “Sesame Street” or “The Muppet Show”, but with the puppets right there in front of you. Starring Andy Mientus and Kathleen Elizabeth Monteleone, it was, hands down, the best children’s holiday production in Chicago. We are witnessing the birth of a new holiday classic.

There was a lot of brilliant theatre in Chicago this year. Choosing the one most meaningful play is daunting. There are so many qualified productions to consider.

Ultimately the choice for the Heartstrings Award recognizing the Most Meaningful Play of 2023 goes to “The Kelly Girls” produced by The Factory Theater in February. The play, written by Factory’s co-artistic director Shannon O’Neill, is fantastic on paper and even more powerful under director Spenser Davis and featuring an incredible cast.

From my review: “The Kelly Girls,” from playwright and company member Shannon O’Neill, is a powerhouse production marked by exquisitely talented actors, phenomenal direction and a text that will make you think. It also will make you feel. And that is the highest compliment I can give.”

Marriott Theatre is one of the best producers of musical theatre in the country. Artistic director Peter Marston Sullivan brings in the best directors, best choreographers, and elite-level stage talent.

Like most years, Marriott’s 2023 season was filled with smash hits. None stood out quite so much, though, as “Beautiful: The Carole King Story.” As I put it in my Life and Times review, it succeeds on all levels including comedy, drama, music, dance, romance, spectacle, intimacy, and message.

Thanks to director Jessica Fisch, choreographer Christopher Windom, music director Ryan T. Nelson, and scenic designer Andrew Boyce, “Beautiful” absolutely astounded audiences. In fact, another Marriott show had Most Meaningful Musical all but locked up when we went to review “Beautiful.” The brilliance of that performance immediately made “Beautiful” the front-runner for the award.

From my review: “Leave it to Marriott Theatre to top off the end of a stupendous season with its best show of the year. “Beautiful: The Carole King Musical” is perhaps the best show Marriott has done in the last half of the decade.”

SPECIAL AWARDS

One More Angel in Heaven – Richard Pahl

The Chicago theatre community sent one more angel to heaven this year with the passing of Richard Pahl. Richard honed his skills as an actor and director in theatres around the country in the 1980s. He eventually settled in Elgin, Illinois with his partner Dennis Taylor in the 1990s. He served on the board of directors for Elgin Theatre Company, was a founding member of The Dennis Taylor Scholarship Foundation for the Performing Arts, and spent two terms on the Elgin Cultural Arts Commission. All the while, he continued to work as a celebrated actor and director. He made an impact. He touched lives. He will be missed.

Lifetime Achievement Award – Madeline Franklin

Like many in the Chicago theatre community, I have the utmost respect for Madeline Frankin. She has proven herself a capable actress, director, producer, fine arts instructor, and publicist. She made an impact with so many theater companies over the years, most recently with Elgin Theatre Company and Freemont Street Theater Company.

A few years back, Madeline wanted me to star in production she was directing. Unfortunately, I wasn’t available for her rehearsal schedule so regrettably we weren’t able to collaborate on that project, but I have had the chance to get to know her and work on some marketing projects over the years – and for that I am eternally grateful. She is not only talented, but also a fine, loving, and supportive person – which is what theatre and the world in general needs more of.

This year, Madeline announced her retirement from theater. Hopefully young talent will emerge to work together to fil the giant shoes of such a petite fir