Displaying items by tag: Emily Lewis

As a lifelong Phantom of the Opera devotee in every form it takes, I was genuinely delighted to see BrightSide Theatre tackling Phantom in Concert. As the title promises, this version reimagines Gaston Leroux’s classic novel as a sweeping musical experience.

With actors reading from scripts accompanied by a full orchestra, Maury Yeston & Arthur Kopit’s Phantom in Concert reframes the tale as a lush, emotional melodrama centered on Eric, a brilliant but disfigured musical genius who lives beneath the Paris Opera House. In contrast to Andrew Lloyd Webber’s darker, gothic interpretation, this musical leans into Eric’s tragic origins, his yearning for genuine affection, and the profound musical bond he shares with Christine - the voice that has captured his heart completely.

Despite living in the shadow of Lloyd Webber’s megahit, the Yeston–Kopit Phantom has enjoyed more than a thousand productions worldwide and earned a devoted following for its sweeping score and heartfelt storytelling. Signature numbers such as “Without Your Music,” “Home,” “My True Love,” and “This Place Is Mine” are often cited among Yeston’s finest compositions.

In this telling, Eric - the Phantom - haunts the catacombs beneath the Paris Opera, a reclusive genius consumed by music and beauty. When he discovers Christine, a gifted young soprano, he becomes her unseen mentor, shaping her talent from the shadows. Turmoil erupts when longtime manager Gerard is dismissed and replaced by the imperious diva Carlotta and her husband, Cholet – the new owners of the theater. Driven by jealousy, Carlotta deliberately ruins Christine’s voice, Eric retaliates, sending the Opera into panic and prompting a relentless police pursuit. Eric’s fury ripples through the opera house like a living thing. What begins as confusion quickly curdles into fear, the company realizing that someone with both brilliance and rage is pulling the strings. All of it builds toward that moment when the truth about Gerard comes crashing in, reframing the chaos not just as vengeance, but as the desperate thrashing of a man who has been wounded far deeper than anyone understood. Gerard’s secret casts a long, quiet shadow over those final moments, turning them into something more intimate - a reckoning shaped as much by vulnerability as by the haunting beauty of Eric’s music.

Under the finely tuned direction of Artistic Director Jeffery Cass, Phantom unfolds with a sense of fluidity and imagination. Cass uses the entire venue as his canvas, sending cast members weaving through the seating area so the story seems to breathe around the audience rather than simply play out in front of them. It’s an approach that keeps the energy alive and the tension palpable.

Leading the production is Caden Cole, ideally cast as The Phantom/Eric, the enigmatic and tormented musical prodigy. He brings a striking blend of vulnerability and command to the role, and his vocal power is undeniable - soaring in the big moments, simmering in the quieter ones, and always grounded in emotional truth. Cole doesn’t just sing the Phantom; he inhabits him, giving the production its beating heart. Emily Lewis meets Cole’s fire with equal force, matching his intensity note for note in the role of Christine. She brings a luminous clarity to the character - wide‑eyed innocence layered with a growing emotional strength - and her voice carries both the sweetness and steel the role demands. Lewis’s chemistry with Cole heightens every duet, creating a dynamic that feels electric from the moment they share the stage.

Julie Ann Kornak commands the stage with a lavish, full-throttle diva presence that renders her Carlotta utterly unmissable. Each line and note - and every sly, well‑placed comic nuance - lands with the assurance of a performer who knows the spotlight belongs to her the moment she steps into it. She balances grandeur with just the right touch of comedic sparkle, turning Carlotta into a character who is not only vocally formidable but irresistibly fun to watch. Phillipe - Christine’s steadfast admirer and emotional counterweight to the Phantom - is brought to life with admirable warmth by Joe Moerschel. He plays the role with an earnest sincerity that grounds the love triangle, offering a gentler, more human alternative to the Phantom’s tortured brilliance.

The production is further elevated by standout supporting work. Among other outstanding players, Stan Austin delivers a crisp, comedic take on Cholet, cutting through the surrounding chaos with razor‑sharp timing, while Michael Rivera brings a grounded, steady warmth to Gerard, his voice blooming with striking clarity and power, especially throughout the second act. Phantom in Concert is bolstered by a remarkably cohesive ensemble whose vocal strength and fluid movement enrich every scene. This is a company that works in true harmony, elevating the production at every turn.

BrightSide’s Phantom in Concert emerges as a genuine musical‑theatre treasure, the kind of production that reminds you why this story endures. It marries lush orchestration, expressive performances, and a palpable sense of passion into an experience that feels both intimate and grand. This is the sort of evening that rewards longtime fans and newcomers alike, making it not just worth seeing, but worth savoring.

Phantom in Concert is being performed on a limited run from January 9^th-18^th. For tickets and/or more show information, visit https://brightsidetheatre.com/.

MadKap Production’s A Funny Thing Happened on the Way to the Forum bursts onto the Skokie Theatre stage with rollicking energy and infectious chaos, blending sharp wit with rapid-fire comedy. Featuring the unforgettable music and lyrics of Stephen Sondheim and a book by Burt Shevelove and Larry Gelbart, this timeless gem premiered on Broadway in 1962, echoing the mischievous spirit of ancient Roman playwright Plautus.

At the center of the story is Pseudolus (Ed Rutherford), a crafty Roman slave with one goal: to earn his freedom. His scheme? Help his lovestruck young master, Hero (Tyler Lord), win over Philia (Emily Lewis) - a sweet but scatterbrained courtesan. But things get complicated fast when Philia is revealed to be promised to the bombastic soldier Miles Gloriosus (Max Perkel), unleashing a torrent of mix-ups, slapstick mayhem, and frenzied farce that barrels forward with dizzying speed.

The musical opens with the vibrant anthem “Comedy Tonight,” setting a lively tone of vaudevillian mischief and fast-paced fun. What follows is a cavalcade of quirky characters—nervous Hysterium (Andrew Buel), domineering Domina (Erin Renee Baumrucker), and perpetually lost Erronius (Gayle Starr) - each fueling the frantic, farcical momentum with their own brand of comic mayhem.

The show’s lasting popularity has sparked numerous revivals and a 1966 film adaptation featuring Zero Mostel, reprising his iconic role as Pseudolus. Decades later, the musical continues to charm audiences, treasured for its clever humor, classic slapstick, and vibrant theatricality – and now here we are at Skokie Theatre. Afterall, Forum is considered by many as one of the funniest farces ever written.

Though A Funny Thing Happened on the Way to the Forum doesn’t wear its politics on its sleeve, it’s laced with sly irony that lampoons authority and societal conventions. Drawing from Roman farce and vaudeville traditions, the musical uses exaggerated characters and absurd scenarios to expose the folly of rigid hierarchies and cultural norms.

Despite its ancient Roman setting, the musical cleverly reflects the quirks of modern life - its historical backdrop offering just enough distance to satirize familiar themes like corruption, vanity, and societal nonsense without striking too close to home. The production perhaps strikes a different chord with today’s audiences than it did in the 1960s, when it was embraced as a bold and playful revival of Vaudevillian farce. Back then, its irreverent humor and exaggerated characters were celebrated largely for their entertainment value, with little pushback on the underlying themes.

While the show is clearly satirical in nature, modern viewers are more likely attuned to the implications behind its comedic treatment of slavery and the commodification of women. These elements, once played simply for laughs, are now seen through a more critical lens informed by evolving cultural conversations around representation, consent, and power dynamics.

As a result, portrayals of enslaved characters and, in this case, the Courtesans dealt by Marcus Lycus (Daniel Leahy), often prompt deeper discussions about historical context and theatrical intent. This contemporary production tends to lean into the satire rather than soften it, using exaggerated staging and bold casting choices to spotlight the absurdity of outdated social norms.

By doing so, Director Wayne Mell reframes the humor as subversive rather than regressive - honoring the show’s chaotic spirit while acknowledging its problematic aspects. This approach allows Forum to remain a vibrant piece of theatrical history while adapting to the sensibilities of modern audiences.

Skillfully directed, this production masterfully bridges generations of comedy. Mell guides a youthful cast in capturing the sharp, vaudeville-inspired humor that defined the original in the 1960s and ’70s, making it feel fresh and relevant for audiences in 2025. The result? A flat-out hilarious production that hits every sardonic beat envisioned by its creators over six decades ago.

Kudos to Wayne Mell and Producer Wendy Kaplan for breathing new life into this theatrical gem and bringing its timeless wit back to a Chicago stage.

Ed Rutherford is a standout as Pseudolus, delivering rapid-fire humor and showcasing sharp comedic instincts that keep the audience laughing throughout. His portrayal of the fast-talking, quick-thinking slave is both dynamic and crowd-pleasing and he sets the pace well. Paired with Andrew Buel, the two form a well-matched scheming duo, adapting on the fly as their ever-evolving plan meets one hilarious obstacle after another. Their chemistry drives much of the show’s momentum and mischief. Tyler Lord also has his moment in the sun with a beautiful rendition of “Love, I Hear.”

Among a cast filled with talented actors, the trio of Aidan Espinosa, Owen Espinosa, and Mitchell Shaw steal the spotlight with their uproarious turns as eunuchs and Roman soldiers. Their sharp timing, outrageous antics, and expertly executed physical comedy keep the audience in stitches, consistently igniting laughter and applause throughout. They don’t just land their jokes - they launch them.

MadKap Productions really enjoys bringing back the classics (as they did so well with last season’s South Pacific). Look for later popular hits from yesteryear to hit the stage later this season like Pippin, Deathtrap and Company – and why not, they bring them to life so well. 

With plenty of hilarious moments and big song numbers like “Free,” “That Dirty Old Man,” “That’ll Show Him” and “Love, I Hear,’ I highly recommend this theatrical event as a great way to enjoy a “comedy tonight - and speak of tragedy tomorrow” as a soaring musical sure to tickle your funny bone.

MadKap’s A Funny Thing Happened on the Way to the Forum is playing at Skokie Theatre through August 3^rd. For tickets and/or more show information, click here. 

*This review is also featured on https://www.theatreinchicago.com/!