Displaying items by tag: Scott Kelley

They're creepy and they're kooky, Mysterious and spooky, They're altogether ooky, The Addams Family.

Yes, ooky.

BrightSide Theatre’s production of The Addams Family Musical at the Theater at Meiley Swallow Hall feels like stepping back into the wonderfully odd world of a family we’ve all grown up with. There’s an immediate charm in seeing Gomez and Morticia - the passionately devoted, darkly elegant heads of the Addams clan - presiding over their spooky, loving household with the same theatrical flair that made them iconic. With a book by Marshall Brickman and Rick Elice and music and lyrics by Andrew Lippa, the show’s blend of gothic quirk, musical comedy warmth, and big-hearted family chaos lands with a personal, familiar joy that makes this staging especially inviting. And right at the center is Wednesday Addams, their sharp tongued, deadpan daughter whose unexpected leap into romance sets everything spiraling.

In this musical comedy, Wednesday has fallen in love with Lucas Beineke, a sweet, decidedly “normal” young man from Ohio. Determined to prove she’s ready for something real, she asks her parents to host a dinner so the two families can meet - but she also begs Gomez to keep her engagement a secret from Morticia. That single request throws Gomez into a hilarious moral crisis, while Morticia senses something is off and the rest of the Addams household prepares for an evening guaranteed to go sideways. When the straight-laced Beinekes arrive, their collision with the gloriously eccentric Addamses sparks a night of confessions, misunderstandings, unexpected alliances, and more than a few supernatural surprises. What unfolds is a heartfelt, funny, and delightfully macabre exploration of love, loyalty, and the beautifully strange ways families learn to accept one another - quirks and all.

BrightSide’s production thrives on the strength of its performers, and this cast brings the Addams world to life with personality, precision, and a magnificently off-center spirit.

Scott Kelley and Samatha Keret (rear) as Gomez and Morticia and Ancestors in Brightside Theatre’s The Addams Family Musical. Photos by CM Stage Photography.

At the center of the production are Scott Kelley’s Gomez Addams and Samantha Keret’s Morticia Addams, who anchor the show with an easy chemistry that makes their partnership feel lived in and genuinely affectionate. Their banter and romantic interactions are fantastic - playful, sharp, and full of the kind of idiosyncratic mutual understanding that makes their marriage the emotional core of the evening. Kelley gives Gomez a warm, slightly frantic presence, the kind of theatrical bravado that feels both funny and sincere. Keret, with her beautiful voice and cool, elegant presence, matches him beat for beat, creating a dynamic that feels both grounded and pleasantly heightened. Together, they knock their roles out of the ballpark.

The ensemble - from the Addams clan to the buttoned-up Beinekes, along with the ghostly Ancestors who linger in the house until Wednesday’s journey toward love sets them free - brings strong energy and cohesion to the production, giving the show a vibrant foundation for some standout performances.

Lauren Mathews’ Wednesday Addams is terrific, offering a Wednesday who is smart, guarded, and brimming with the dry, deadpan wit audiences expect - but also carrying the emotional uncertainty of someone stepping into adulthood faster than she planned. Her performance captures a teenager caught between loyalty to her wonderfully strange family and the terrifying possibility of real change. Because the story ultimately revolves around love - romantic, familial, and everything in between - Mathews becomes the hinge of the entire narrative, and she handles that responsibility with clarity and confidence.

Collin Borisenko’s Uncle Fester adds a welcome dose of sweetness and eccentricity, leaning into Fester’s gentle oddball nature without tipping into caricature, while Amy Arbizzani’s Alice Beineke provides some of the evening’s biggest laughs as a tightly wound suburban mom whose unraveling becomes a comedic highlight. Arbizzani’s timing - and her ability to really belt when the moment calls for it - turns her musical outbursts into genuine showstoppers.

BrightSide’s creative team shapes this production with care and a clear affection for the material. Under De Haddad’s direction, the musical moves with clear, unfussy ease, balancing the story’s humor and heart while keeping the unconventional Addams world feeling cohesive and inviting. Shane Brown’s choreography adds light, well placed movement that supports the storytelling without crowding the stage, giving each number a clear, character focused lift. Phil Videckis leads the music with steady assurance, keeping the score’s personality and emotional beats aligned with the action. Cheryl Newman’s costumes offer a thoughtful blend of familiar Addams silhouettes and clean, stage ready designs, while Kurt Ottinger’s lighting brings subtle shifts in mood and color with just enough theatrical shadow to frame the world effectively. The production’s scenic design, crafted by Ariel Mozes, provides a space that feels both spooky and welcoming - a home that fits the Addams tribe and the story unfolding within it. One of the production’s most engaging details is the way the Ancestors drift in and out of the family portraits, turning the walls of the Addams home into a living gallery that observes the action as it unfolds.

Pugsley and Wednesday Addams (Carson Kelley and Lauren Mathews) in Brightside Theatre’s The Addams Family Musical. 

This is a funny show that is all about love, and BrightSide delivers that humor with a light, playful touch that keeps the audience laughing. And even when some of the jokes are predictable, they still land, because the delivery, timing, and sheer Addams‑style absurdity make the familiar feel fun rather than tired. I did wonder whether comedy born sixty years ago would still resonate with today’s crowd, but the production blends the classic Addams deadpan with a few modern winks - including some sly innuendo and contemporary asides - that make the jokes feel fresh without betraying the spirit of the original. The crowd was a mix of longtime Addams fans and newer generations, something made instantly clear when the familiar theme kicked in - a handful snapped right on cue while others clapped along. It was a fun blend of reactions, and the overall effect showed that the humor lands for everyone.

Big musical moments like When You’re an Addams burst with playful choreography and gothic silliness, setting the tone right from the start. Later, Full Disclosure turns a family dinner into a brilliantly chaotic spectacle, layering jokes, reveals, and ensemble energy in a way that feels both sharp and amusingly messy. Morticia’s Just Around the Corner is another highlight - a charming bit of dark humor built around her cheerful pun that “death is just around the coroner… get it?” delivered with exactly the kind of melodramatic glint the character thrives on.

For so many of us, The Addams Family began in grainy black and white reruns on TV - the kind you’d stumble upon on a quiet afternoon, or watch curled up on the couch, instantly pulled into that wonderfully odd little world. Those episodes became part of childhood in a way that sticks, shaping our sense of humor and giving us characters who felt strange, sweet, and strangely familiar all at once. Seeing the Addamses still make people smile today - onstage, in full color, with all their offbeat charm intact - is a reminder of how enduring they are. Decades later, they’re still beautifully weird, still welcoming, and still capable of bringing out that same simple, shared joy.

BrightSide Theatre’s The Addams Family Musical is recommended, offering a spirited, nostalgic, and thoroughly enjoyable night out for audiences of all ages. The production runs October 2–18, 2026 at the Theater at Meiley Swallow Hall at North Central College, located at 31 S. Ellsworth St. in Naperville. With an estimated running time of 2 hours and 30 minutes, including intermission, it’s an evening that delivers plenty of laughs, charm, and quirky family fun - a welcome return to the wonderfully weird world of the Addams clan.

https://brightsidetheatre.com/the-addams-family/

BrightSide Theatre’s The Producers storms into Meiley Swallow Hall with the kind of swagger only Mel Brooks can inspire: brash, brazen, and blissfully unconcerned with good taste. From the moment the lights rise, the show charges ahead with a manic momentum that feels both affectionately old school and sharply self-aware. It knows exactly what it’s here to do: go big, go bold, and never apologize for the mayhem.

Under the confident direction of Artistic Director Jeffrey Cass, this staging taps directly into Brooks’ outrageous, boundary-poking sensibility and never loosens its grip. Cass understands that The Producers thrives when its humor teeters on the edge, and he captures that gleeful imbalance with remarkable control. The original film premiered in 1967, the musical exploded onto Broadway in 2001, and if anyone wonders whether that brand of audacity still lands in 2026, the answer is an unequivocal yes. The Naperville audience laughed steadily from the first scene to the curtain call, proving that Brooks’ anarchic wit remains timeless.

BrightSide’s version brings the show’s wild premise to life with full comic force: washed-up Broadway producer Max Bialystock (Scott Kelley) and anxious accountant Leo Bloom (Michael Metcalf) concoct a get-rich-quick scheme to stage the biggest flop in theatre history. If the show collapses on opening night, they can pocket the investors’ money and disappear. Their hunt for guaranteed failure leads them to the worst script imaginable, the most misguided director in town, and a cast so spectacularly wrong that success seems impossible. But in classic Brooks fashion, the plan detonates in the most unexpected way, turning their surefire disaster into an accidental triumph and leaving the pair scrambling to survive the fallout.

That spirit of intentional ruin pulses through the musical numbers, each one another attempt to engineer catastrophe. “Springtime for Hitler,” the show-within-the-show’s notorious centerpiece, is crafted as an overblown, tasteless pageantry meant to repel audiences instantly. “Der Guten Tag Hop Clop” and “Haben Sie gehört das Deutsche Band?” push the absurdity even further, spotlighting a playwright and director whose delusions should have doomed the project. Even “Keep It Gay,” with its flamboyant insistence on excess, is part of Max and Leo’s strategy to stack the deck with choices so misguided they can’t possibly succeed. Ironically, the songs are so bold, so shamelessly theatrical, and so cleanly executed that the very elements meant to sink the show end up turning it into the hit they never wanted.

Scott Kelley’s Max Bialystock and Michael Metcalf’s Leo Bloom make a terrific duo, striking a lively balance between showmanship and panic. Kelley barrels through the role with larger-than-life bravado, while Metcalf’s tightly coiled nervousness plays off him beautifully. Their timing is crisp, their rapport effortless, and together they elevate every scheme, meltdown, and misstep.

Max Bialystock (Scott Kelley) and Company.

Amelia Tam is outstanding as Ulla, the blonde bombshell Max hopes to lure to his “casting couch”. She is an amazing dancer with an equally outstanding voice, commanding attention the moment she steps onstage with a blend of radiant charm and razor-sharp comedic instinct. Her Ulla rises far above the familiar Swedish ditzy-blonde trope, becoming a spark of vitality who shifts the temperature of every scene she enters. Tam mixes wide-eyed innocence with sly intelligence, making each line land with extra bite. Whether stretching a vowel for comedic payoff or launching into “When You Got It, Flaunt It” with fearless gusto, she turns Ulla into a character who is not only irresistible but essential to the show’s rhythm.

The supporting cast is uniformly strong, powered by an ensemble that moves with clarity (credit to choreographer Mary Grace Martens), hits its jokes cleanly, and fills the stage with infectious confidence. Cheryl Newman shines as one of Max’s elderly ‘investors,’ delivering sharp comedic work while also contributing behind the scenes as costume designer - a pair of responsibilities she handles with impressive finesse. Michael John Lynch brings delicious flair to Carmen Ghia, the impeccably mannered yet cutting assistant whose every gesture blends elegance and threat. Myles Mattsey is memorable as Franz Liebkind, the unhinged playwright whose patriotic fervor is both alarming and hilarious, while John B. Boss transforms director Roger DeBris into a gleaming spectacle of theatrical excess. Together, they form a gallery of eccentrics who keep the show’s momentum high and its humor constant.

All the while, Phil Videkis provides excellent musical leadership, guiding the orchestra with crisp pacing and keeping the score bright, tight, and perfectly attuned to the show’s comic sensibility while supporting Thomas Meehan’s book with well-judged musical choices.

The staging makes clever use of an economical but highly effective set designed by Ariel Mozes, shifting smoothly from location to location without ever feeling limited. What the physical scenery lacks in large-scale opulence, it compensates for with smart configuration and adaptability, allowing the story to move quickly while keeping the focus on the performers. Enhancing that versatility is a programmable LED backdrop that becomes one of the production’s most dynamic tools, transforming into windows, rainbows, bursts of color, or even spelled-out words that heighten key moments. Together, Mozes’ resourceful design and the vivid LED wall create a surprisingly rich visual world that expands far beyond the modest footprint.

BrightSide Theatre once again demonstrates a sharp eye for material, adding The Producers to its growing list of savvy, crowd-pleasing selections. This staging delivers everything a Mel Brooks musical should: big laughs, confident performances, and a joyful sense of mischief that never lets up. It’s a lively, high-spirited evening that embraces the show’s outrageous personality while still finding its own clever touches along the way. This musical comedy is highly recommended, playing through June 28th at the Theater at Meiley Swallow Hall, an ideal summer outing for anyone craving a night of bright, unapologetic fun.

For tickets and/or more show information, visit https://brightsidetheatre.com/producers/.

If you’ve ever wondered what would happen if a glam-rock concert, a sci-fi B-movie, and a drag ball collided in a castle during a thunderstorm—The Rocky Horror Show Live has your answer, and it’s wearing fishnets.

The Rocky Horror Show Live is a glitter-drenched, gender-bending, sci-fi rock ‘n’ roll romp that turns theater into a wild party. Expect corsets, chaos, and a whole lot of “Time Warp” madness. This madness has now made its way to Naperville – Brightside Theatre to be exact.

When prim-and-proper sweethearts Brad Majors and Janet Weiss find themselves stranded in a thunderstorm, their search for shelter leads them to a looming, otherworldly mansion - a castle pulsing with secrets, sequins, and scandal. What begins as a pit stop quickly spirals into a surreal plunge down the rabbit hole of desire, decadence, and intergalactic mischief.

Inside, they meet the castle’s master of ceremonies: Dr. Frank-N-Furter, a gloriously flamboyant, corset-clad scientist who struts with the swagger of a rock god and the flair of a cabaret queen. Hailing from the distant planet of Transsexual in the galaxy of Transylvania, Frank is in the midst of unveiling his latest experiment - a living, breathing Adonis named Rocky, sculpted from muscle, myth, and pure libido. With golden locks and glistening abs, Rocky is less Frankenstein’s monster and more a pin-up fantasy brought to life.

As Brad and Janet’s innocence begins to unravel, the castle transforms into a playground of provocative floor shows, alien revelations, and boundary-blurring seductions. The air crackles with glam-rock anthems, pelvic thrusts, and a deliciously campy celebration of everything taboo. Gender norms are tossed aside, sexuality is fluid and fearless, and the audience is swept along in a glitter-drenched whirlwind of liberation and lunacy.

It’s not just a descent - it’s a transformation. What starts as a dark and stormy night becomes a kaleidoscopic journey into the heart of pleasure, identity, and unapologetic self-expression. And by the time the curtain falls, Brad and Janet - and everyone watching - are forever changed.

From left to right Frank-n-Furter (John McNally), Brad (Michael Lynch) and Janet (Brooke Kassal).

Brightside delivers a dazzling revival of this cult classic, transforming the stage into a riotous playground of glam, grit, and glorious excess. With a knockout cast and inventive use of props, the production doesn’t just invite the audience into Dr. Frank-N-Furter’s castle - it plunges them headfirst into its glittering heart, where every velvet curtain and pelvic thrust feels like an invitation to mischief.

John McNally is an absolute revelation as Dr. Frank-N-Furter, commanding the stage with a magnetic blend of sensuality, sway, and razor-sharp wit. From the moment he slinks into view, clad in fishnets and attitude, McNally’s presence is undeniable - he doesn’t just enter the scene, he devours it. His performance pulses with a deliciously understated sexiness, balanced by theatrical bravado and a knowing wink that keeps the audience hanging on every gesture. Whether crooning through “Sweet Transvestite” or orchestrating the castle’s chaos, McNally delivers a masterclass in camp charisma.

Brooke Kassall lights up the stage as Janet Weiss, infusing the role with vocal brilliance and comedic precision. Her transformation from wide-eyed ingénue to liberated vixen is a joy to watch, and she navigates the character’s emotional arc with both heart and hilarity. Kassall’s timing is impeccable, her voice crystalline, and her physicality sharp.

Michael Lynch, as Brad Majors, is pitch-perfect in his portrayal of the uptight, earnest fiancé caught in a whirlwind of glitter and temptation. Lynch leans into the camp with gusto, delivering his lines with just the right mix of sincerity and absurdity. His vocal moments land with strength and clarity, and his chemistry with Kassall adds a layer of authenticity to the madness unfolding around them.

Together, this trio anchors the production with energy, nuance, and a confident embrace of the show’s outrageous spirit.

Scott Kelley delivers a pitch-perfect performance as the Narrator, wielding deadpan delivery like a scalpel and slicing through the chaos with dry wit and subtle nuance. His timing is impeccable, his tone delightfully sardonic, and his ability to anchor the madness with a raised eyebrow or a well-placed pause makes him the ideal guide through this glitter-drenched fever dream. Kelley doesn’t just narrate—he punctuates the production with comedic finesse, offering a steady stream of meta-humor that keeps the audience both grounded and giggling.

One of the most inspired casting choices in the show is Mary Grace Martens in the dual roles of Eddie and Dr. Scott - a double act that showcases her range, charisma, and comic chops. As Eddie, Martens bursts onto the scene like a rock ‘n’ roll cannonball, delivering a hilariously unhinged performance that’s equal parts punk energy and vaudevillian flair. Her physicality, vocal grit, and sheer commitment to the chaos make Eddie’s brief but explosive appearance unforgettable.

Then, in a brilliant pivot, Martens reemerges as Dr. Scott, trading leather and rebellion for tweed and gravitas. Her portrayal is spot-on, capturing the character’s stiff demeanor and scientific earnestness while still mining the role for laughs. The contrast between the two characters is a testament to Martens’ versatility - she doesn’t just play two roles, she inhabits two worlds, and does so with style, precision, and a wink to the audience.

When opportunity came knocking, Charlie Kungl didn’t just answer - he flung the castle doors wide open and stormed the stage with a performance that was nothing short of electrifying. Originally cast as one of the Phantoms, Kungl stepped into the role of Riff Raff with fearless precision, filling in for Thomas McMahon and transforming the castle’s creepy handyman into a scene-stealing force of nature. From the moment he slithered into view, Kungl embodied Riff Raff’s eerie elegance and twitchy menace with uncanny style, layering in just the right amount of weirdness, wit, and vocal prowess.

His performance in “Over at the Frankenstein Place” was hauntingly beautiful, and his contributions to “Time Warp” were delivered with such gusto and vocal strength that the audience couldn’t help but be swept into the madness. Kungl delivered one of the most memorable turns of the night.

Playing opposite Riff Raff as the sultry and sardonic Magenta is Michelle Bolliger. Bolliger brings a sly humor and smoky vocal tone to the role, delivering her lines with a delicious blend of deadpan and mischief. Her chemistry with Kungl added a layer of twisted charm to the castle’s eerie ambiance, and her vocal work - especially in ensemble numbers - was smooth, confident, and richly textured.

From left to right Eddie (Mary Grace Martens), Frank-n-Furter (John McNally) and Columbia (Collette Michelle).

Ben Chalex delivers a standout turn as Rocky Horror, infusing Frank-N-Furter’s golden-haired creation with a magnetic blend of innocence, physicality, and comic ability. From his shimmering entrance in gold lamé to his wide-eyed reactions and expressive vocals—especially in “The Sword of Damocles”—Chalex elevates Rocky beyond caricature. He brings surprising emotional depth and impeccable timing, making Rocky not just a lab-grown fantasy, but a breakout presence bursting with kinetic charm and comedic gold.

Rounding out the cast with flair is Collette Michelle, who shines as Columbia with a vibrant mix of vocal prowess and comedic sparkle. Her performance surges with energy, capturing Columbia’s manic charm and showgirl sass to perfection. Michelle even delivers a crisp, crowd-pleasing tap routine that seals the deal—she’s a triple threat with glitter to spare.

The ensemble of Phantoms brought a vibrant pulse to the production, serving as Frank-N-Furter’s pleasingly twisted entourage with flair and finesse. These talented performers didn’t just dance - they slinked, strutted, and seduced their way across the expansive three-quarter thrust stage, turning every corner into a playground of provocative movement – including the aisles. Their presence added texture and tension, amplifying the castle’s decadent atmosphere and ensuring that Frank’s every whim was met with theatrical devotion and dazzling spectacle.

Under the sharp direction of Jeffrey Cass and the spirited musical guidance of Phil Videckis, The Rocky Horror Show Live at Brightside Theatre explodes with vigor, irreverence, and irresistible charm. This production doesn’t just break the fourth wall - it invites the audience to dance through it, shout back at it, and throw Scott’s toilet paper at it. With highly encouraged audience participation that leaps at every campy cue and innuendo, the show becomes a shared spectacle of chaos and delight. It’s a glitter-drenched, fishnet-clad thrill ride that’s tailor-made for the Halloween season - and absolutely unmissable for fans of theatrical mischief.

Highly Recommended.

The Rocky Horror Show Live is being preformed at Theater at Meilly-Swallow Hall through November 9^th. For tickets and/or more show information, visit https://brightsidetheatre.com/the-rocky-horror-show/. 

It was a dark and stormy night (yes, it really was!) – the perfect ambiance for taking in one of theatre’s classic comedic thrillers, Ira Levin’s Deathtrap, staged by BrightSide Theatre at North Central College’s Meiley-Swallow Hall, in Naperville.

For knowledgeable theatre buffs, Deathtrap holds the record for the longest-running comedic thriller on Broadway. It was nominated for four Tony Awards, including Best Play, and was later adapted for the screen, starring Michael Caine and Christopher Reeve.

It’s the story of world-famous playwright Sidney Bruhl, who for the past 11 years has been riding the fading fame of his one and only hit play, The Murder Game. Having to squeak by on his wife’s income and forego his once lavish lifestyle, Sidney is looking for a way to regain his fame – and fortune.

As the play opens, Sidney is reading a manuscript that arrived in the mail from one of his seminar students. Much to his chagrin, the script is brilliant, and in his estimation, bound to be a smash hit. Sidney shares his thoughts with his wife, Myra, and together the pair conspire to make the manuscript their own. While Myra promotes collaboration (with Bruhl’s name taking top billing, of course), Sidney has a more sinister solution to their dilemma in mind.

At Sidney’s invitation, the young playwright, Clifford Anderson, arrives at their secluded Connecticut farmhouse, to discuss the manuscript. What ensues is a series of twists and turns, unexpected and shocking events, that keeps the audience guessing as to what will happen next. Throw in a hilarious neighbor, Helga ten Dorp, who just happens to be a noted psychic whose suspicions are spiked by the strange goings-on at the Bruhl’s house, and you have all the ingredients for an entertaining and lively evening.

Under the skillful direction of Jason Harrington, who directed BrightSide’s The Odd Couple last season, the cast turns in a well-paced and skilled performance. Even for those familiar with the plot, as I was, I found myself jumping and gasping at all the right places and thoroughly engaged throughout the evening.

Scott Kelley stars as Bruhl and turns in a convincing performance as the washed-up playwright looking for an easy way out of his writer’s block. Kelley has appeared in numerous other BrightSide productions, including the 2021 Miracle on 34^th Street, and is a veteran actor on the Chicago theatre scene. His hapless and anxiety-ridden wife, Myra, is excellently portrayed by Marianne Embree, who is appearing in her third BrightSide production.

Tyler Szarabajka, who plays the young playwright, Clifford Anderson, is making his professional debut in Deathtrap. He plays the role with just the right amount of cockiness and youthful assurance that makes him a great foil to his uptight, older mentor and hero. And Lisa Braatz absolutely shines as the quirky psychic, Helga ten Dorp, as she makes one outlandish prediction after another as she “senses” the pain and trauma in the room. The cast is rounded out by John Zimmerman as Porter Milgrim, the staid family friend and attorney for the couple, who brings a modicum of somberness to the proceedings – until the final scene!

Adding to the overall experience of the production is the theatre itself. Located on North Central College’s campus, just a few blocks off downtown, this gem of a theatre offers theatregoers an intimate and cozy interaction with the performers. There’s not a bad seat in the house, and you feel as if you are in on the action because of the proximity to the actors.

BrightSide Theatre, under Artistic Director Jeffrey Cass and Executive Director Julie Ann Kornak, is now in its 13^th season. Billed as Naperville’s only professional theatre performing in the historic downtown district, BrightSide has won “Best of Naperville” Live Entertainment Venue for the past six years. Even though I’ve lived in Naperville for years, this was my first introduction to BrightSide Theatre, and I was not disappointed.

For theatre-enthusiasts, or anyone looking for an entertaining night at the theatre, without the fuss and bother of going downtown Chicago, BrightSide’s Deathtrap production will more than satisfy. Add in its location right off the downtown with access to Naperville’s many and varied dining options, and you have the perfect combination for dinner and theatre.

You can catch Deathtrap at North Central’s Theatre at Meiley-Swallow Hall, 31 S. Ellsworth, Naperville, now through March 24^th. Ticket information can be found at www.BrightSidetheatre.com or by phone at 630-447-TIXS (8497).