Displaying items by tag: James M Nederlander Theater

The musical Water for Elephants, presented by Broadway In Chicago and based on Sara Gruen’s 2006 novel, is the rare touring Broadway production that feels like two forms of live entertainment fused perfectly. It is a sweeping musical, yes, but it is also a full-blown circus spectacle – and, more impressively, it manages to blow you away on both fronts.

Told through the memories and ghosts of an elderly Jacob Jankowski, Water for Elephants follows a young Jacob who, under unfortunate circumstances, follows the age-old childhood dream of running away with the circus. The show brings to life the complicated realities behind that fantasy: the idea of stumbling into a secret, self-contained world where danger, wonder, chosen family, and reinvention all exist under one big top. From the moment Jacob enters that world, the audience is drawn in with him.

Particular standouts in the principal cast were Zachary Keller as Jacob Jankowski, whose vocal talent and charisma are matched only by Robert Tully as Older Jacob – the perfect pairing across time. As Marlena, Helen Krushinski commanded the theatre like a pure-of-heart ringmaster, capturing our attention both on trapeze and vocally. However, no one made the audience laugh harder than Tyler West as Walter, the gritty, spunky clown and knife-thrower whose physical comedy was unmatched, projecting every larger-than-life expression to the backs of the theatre.

The show’s creative engine fires on all cylinders: a soaring score from the acclaimed PigPen Theatre Co. (The Tale of Despereaux), a sharply crafted book by four‑time Tony Award nominee Rick Elice (Jersey Boys, Peter and the Starcatcher), and tour direction by Ryan Emmons, faithfully re‑creating Jessica Stone’s Tony‑nominated original staging (Kimberly Akimbo).

(left-right) Connor Sullivan, Helen Krushinski, and Zachary Keller in Water for Elephants. Photos by Matthew Murphy for MurphyMade. 

The most immediately astonishing element of this production is, unsurprisingly, the circus work. The show features a truly impressive range of skills, including aerial hoop and silks, Spanish web, trapeze, and dozens of genuinely death-defying acrobatic tricks and stunts. These sequences are not treated as decorative flourishes or occasional spectacle breaks; they are woven directly into the fabric of the show, pulling us behind the scenes of how the circus breathes, moves, celebrates, and survives.

Aside from their incredible acrobatic talent, it is the ensemble’s acting and collective presence that really bring the Benzini Brothers Circus to life. They do not just perform like a group of talented individuals; they feel like a community. Their presence gives the spectacle a lived-in quality, as if we are getting a glimpse into a strange, beautiful little village that existed long before Jacob arrived and will continue on after he leaves. The choreography only deepens that feeling, filling the stage with constant motion that still somehow feels purposeful, like the well-oiled machine behind a traveling circus, rather than chaotic. Even in the busiest moments, there is a sense of shared rhythm and collective trust among the ensemble that’s impossible to fake.

That trust extends beyond performance and into the technical construction of the show itself. Throughout the production, the cast quite literally assembles and dismantles the world around them. The big top is built, broken down, reconfigured, and rebuilt in front of us, using artistry to turn scene transitions into their own kind of performance. For a concept that presents so many obvious challenges – live animals, circus-scale theatricality, and the limitations of a traveling production, to name a few – Water for Elephants meets each obstacle with remarkable creativity and a steady grounding force.

The touring cast of Water for Elephants.

The production design is especially successful because it knows when to lean into abstraction. Rather than attempting to make every element literal, the show often suggests the world of the circus through movement, fabric, shadow, structure, the bodies of its performers, and some of the most beautiful puppets I’ve seen on stage. The amount of thought that went into creating something cohesive, theatrical, and fully transportable - without dulling any of its magic - feels less like standard Broadway stagecraft and more like a feat pulled off by a traveling chosen family.

All of this authenticity, however, at times feels at odds with the musical’s book and score. The ensemble feels so natural, so physically and emotionally connected to one another, that a few of the more dramatic scenes begin to feel noticeably staged by comparison. That is not a question of the principal cast’s talent, but rather a limitation of translating this story from novel to musical. There are moments when the circus – and even the puppets – feels startlingly real, and moments when you are reminded that you are very much watching a musical. Neither approach is inherently wrong, but the gap between them can be jarring. Still, that critique feels small compared to the scale of what the production accomplishes. It is also worth noting how vocally balanced the ensemble remains despite the wide range of performers on stage. In a show that combines musical theatre performers with circus and acrobatic artists, maintaining that level of cohesion is both a performance achievement and a technical one.

Water for Elephants captures the exact feeling it is chasing: awe. It is dangerous, romantic, inventive, and deeply theatrical, with a company that makes the impossible look effortless.

For anyone who has ever wanted to run away with the circus – or simply be reminded of what live performance can do when artists push it to its limits – Water for Elephants is running at James M. Nederlander Theatre through July 5th. Tour information and tickets are available at https://waterforelephantsthemusical.com/.

After many years without seeing the movie or reading the story of Peter Pan, the moment I learned that Peter Pan: The Hit Broadway Musical was coming to Chicago, my inner child couldn’t contain its excitement. I arrived at the James M. Nederlander Theatre, quickly found my seat, and noticed joyful children surrounding me. The adults were definitely outnumbered, but hey, we are still kids at heart and have imagination, too! As expected, on opening night, the theater was filled to capacity, and excitement was palpable.

As the lights dim, theatregoers are welcomed into the shared childhood bedroom of Wendy, John, and Michael. Their parents, preparing for an event that evening, are putting the kids to sleep as they prepare to leave. As soon as the parents are gone, Wendy is woken up to Peter Pan and Tinkerbell rummaging through the bedroom. Wendy confronts Peter, and he explains he’s looking for his lost shadow. Wendy helps him reclaim his shadow, and in the process, wakes up her brothers, John and Michael. One thing leads to another, and before you know it, Peter is sprinkling a bunch of fairy dust on the children. They take flight, and with a magical poof, they soar out of the window, embarking on their journey to Neverland. Sounds familiar, doesn’t it?

While the plot of the show shares similarities with the movie, it also introduces its own unique twists. Notably, a conflict arises between Tiger Lily’s tribe and Peter Pan along with the Lost Boys. The ongoing battle involves accusations of theft between the groups. Surprisingly, once Captain Hook enters the scene, Tiger Lily’s Tribe and the Lost Boys decide to form an unlikely alliance and become best friends.

The unification of Tiger Lily’s tribe and Peter Pan and the Lost Boys is, in my opinion, the best scene in the play. This performance is packed with ambient singing and beautifully choreographed dance. The musical number called “Friends Forever” plays as they dance along and try to find a new handshake to seal their newly established bond. The song boasts a wonderful melody, seamlessly intertwining with the joyous celebration.

The cast of Peter Pan is wonderfully diverse, featuring actors from various racial backgrounds. This production breathes new life into the story, making it feel more inclusive and significantly more multicultural than the original 1953 animated movie. Every actor delivers an outstanding performance, with special recognition for the young Reed Epley, who has captivated audiences on stage since the tender age of four.

Captain Hook, played by Cody Garcia, is excellent. Garcia is everything you could ask for in an antagonist. He is funny, sassy, and downright evil. Throughout the show, we watch him sing and dance his way into wicked plots to kill all of the children. Surprisingly dark for a kids’ show, I must say. Every time Hook is on stage the crowd laughs, captured by his beguilement. He has what sounds like a Scottish pirate accent and owns it with every word. Garcia’s singing is also impressive with a surprising vocal range that has depth and great heights.

Nolan Almeida, portraying Peter Pan, showcases remarkable acting skills. His singing, dancing, and ability to charm the audience with magic are truly fascinating. Almeida flawlessly hits all his cues and fully embraces his character throughout the show.

My only disappointment stemmed from the choice for the character of Tinker Bell. Anticipating the fairy in physical form, I was surprised when the show opted for what appeared to be a flashlight’s glow instead. Despite my reservations, the children in the audience adored the fairy light, with some even declaring Tinker Bell as their favorite character.

The live orchestra is phenomenal. Their music does a wonderful job complementing the show with whimsical sounds and adventurous beats. Each song is sweetly crafted to help tell the story of Peter Pan, the Lost Boys, and the children versus the dreaded Captain Hook. The music by Morris (Moose) Charlap is perfect and brings the show to life.

Beyond the enchanting music, the choreography by Lorin Latarro truly captivates the audience. Every dance, intricately woven into the musical numbers, is a resounding success, executed flawlessly by the talented cast. The exhilarating flips and graceful couple dancing add an extra layer of excitement. Amidst the choreography, the simulated fights between characters during the show provide an entertaining spectacle. And let’s not forget the magical flying sequences, seamlessly orchestrated by Paul Rubin, which transport us into the heart of Neverland.

Costume design emerged as one of my favorite aspects of the show. Anticipating a vibrant array of colors, I was not disappointed. Sarafina Bush, the costume designer, delivers costumes that are not only true to each character but are also bursting with life. Tiger Lily’s group sports a unique tribal look, while the Lost Boys’ attire exudes wildness and adventure.

The set and stage design further enhances the experience. The lush green jungle landscape of Neverland and the cozy children’s bedroom stand out as exceptional set pieces. Each set was thoughtfully interactive, seamlessly accommodating every scene. And within the Nederlander Theatre, the ambiance feels like the perfect gateway to Neverland—just a sprinkle of fairy dust and a glimpse through French casement windows, and you’ll be soaring.

Kudos to director Lonny Price and executive producer Trinity Wheeler for breathing new life into Peter Pan. Their fresh adaptation transports the beloved characters into a modern world, embracing the timeless magic of imagination. Whether you’re a first-timer or a seasoned viewer, this show promises fun for all.

After the show, I chatted with a few audience members to gauge their thoughts on Peter Pan. Cindy exclaimed, “The show was fantastic, and they had a thrilling cast.”

Kelly, on the other hand, shared a different perspective: “It was a great show, but this wasn’t the same Peter Pan I remember from my childhood. It feels like I didn’t recall any of this happening.”

And then there was Steven, brimming with excitement: “This show was fabulous! It’s a classic story with a modern twist—an absolute must-see for all ages.”

In summary, I thoroughly enjoyed the show. Peter Pan: The Hit Broadway Musical rekindled my youthful spirit and left me wistful for the days of unbridled imagination. While the entire performance was entertaining, Act Two held a special place in my heart. My inner child reveled in the magic, and I departed with renewed inspiration to seek out more ways to stay forever young.

Catch Broadway in Chicago's Peter Pan is being performed March 26th through April 7^th at James M. Nederlander Theatre. Performances are Tuesday through Thursday at 7:00 p.m. (with a Wednesday matinee at 1:00 p.m. on April 3rd), Fridays at 7:30 p.m., Saturdays at 2:00 p.m. and 7:30 p.m., and Sundays at 1:00 p.m. (with an additional performance on Sunday, March 31st at 6:30 p.m.).

The run time of the show is about two hours with a short 15-minute intermission. Make sure to arrive early as the line outside of the theatre is likely to be buzzing with anticipation.

The Nederlander Theatre erupted in thunderous applause as the lights went down on the triumphant return of “Hamilton” to Chicago. Lin-Manuel Miranda's groundbreaking musical, finishing a successful run in Anchorage, Alaska, delivered an electrifying performance that left the Chicago audience in awe of its scope and magnitude. Chicago lifted “Hamilton” on its broad shoulders and has no intention of letting it down.

"Hamilton" is a masterclass in diversity and talent. Under the skilled direction of Thomas Kail and choreography of Andy Blankenbuehler, a diverse cast brings the story of Alexander Hamilton to life with passion and energy. Pierre Jean Gonzalez commands the stage with his charismatic presence and powerful vocals, more than ably supported by a talented ensemble that includes Deon'te Goodman as Aaron Burr, Nikisha Williams as Eliza Schuyler, Marcus Choi as George Washington, Lencia Kebede as Angelica Schuyler, Jared Howelton as Marquis de Lafayette and Thomas Jefferson, Eddie Ortega as Hercules Mulligan and James Madison, Tyler Fauntleroy as John Laurens and Philip Hamilton and King George is played by Neil Haskell.

Company of 'Hamilton' at James M. Nederlander Theatre

Seeing the production for the third time, it’s hard not to make comparisons. I felt Goodman’s Burr was a tad bit passive and slow to anger in the face of Hamilton’s slights. Choi’s Washington was a commanding and inspiring figure. He brought a sense of dignity and gravitas to the role. “One Last Time” was as much a tearjerker as “It’s Quiet Uptown”. Williams’ Eliza is a beautiful and heartbreaking character. She brings a sense of grace, strength, and vulnerability to her interpretation. Howelton’s Lafayette/Jefferson was big and energetic, a joy to watch. I missed the chemistry and affection between Lauren and Hamilton, a minor detail, but still noticeable.

The ensemble cast is outstanding, delivering stunning performances in both the vocal and dance numbers. The choreography is inventive and exhilarating, seamlessly blending hip-hop, jazz, and ballet to create a unique and visually stunning performance. The show's musical score, which blends hip-hop, R&B, and traditional Broadway music, is also a highlight. The songs are catchy, thought-provoking, and emotionally resonant. Miranda has said hip hop is the "heart and soul" of Hamilton. He has incorporated elements of the genre throughout the show, from rapid-fire rapping to the use of samples and beats. Some of the specific hip hop artists that have influenced Miranda include The Notorious B.I.G., Jay-Z, Nas, and Eminem.

Stephanie Jae Park, Ta_Rae Campbell and Paige Smallwood in 'Hamilton'

Hamilton is a truly unique musical that draws on a wide range of musical influences. Miranda has said that he wanted to create a musical that would be "new and fresh, but also familiar and accessible." He has certainly succeeded in doing so, and Hamilton has become one of the most popular and critically acclaimed musicals of all time. I personally think it should be required reviewing for history classes. Learning American history has never been so entertaining.

Hamilton is a powerful and moving musical, teaching viewers many important lessons. It is a story about ambition, perseverance, forgiveness, the power of storytelling and of course, to never throwing away your shot.

When: Through Dec. 30

Where: James M. Nederlander Theatre, 24 W. Randolph St.

Tickets: $42.50+

Info: Broadwayinchicago.com

Digital lotteries will begin each Friday and end the following Thursday for the upcoming weeks performance - 

www.broadwayinchicago.com/hamilton/ham4ham-lottery-details-2023/

For tickets and/or more show information visit https://www.broadwayinchicago.com/show/hamilton/. 

In 2023, “iconic” is a word often used hyperbolically. It is flippantly used to describe and categorize an incredible movie, a famous influencer clap back, a beautiful piece of fashion, or even used to describe a viral TikTok video. When we overuse or misuse a word enough it loses its meaning. In 2023 I submit we reclaim the word and apply it to those in life that truly exemplify to word, where all generations can come together and for a fleeting moment bask in the glow and apt use of the word. Because there is only one word that can describe the biopic of the often revered Queen of Rock and Roll, only one word that can encapsulate her lifetime, her career, and her legacy that will live in the new musical medium of her life. Tina Turner. Iconic.

Much like the artist’s life, TINA-The Tina Turner Musical is a hard-hitting, fast-paced, exhilarating rollercoaster chronically Tina Turner’s extraordinary life and career. Spanning from her childhood days in Nutbush, Tennessee, her early career as the lead singer of the Ike & Tina Turner Revue, her turbulent marriage to Ike Turner, and her incredible comeback as a solo performer which has often been hailed as the greatest comeback in music history. 

TINA- The Tina Turner Musical follows a similar style to some other blockbuster bio picks and plays such as Rocket Man (Elton John) and Mamma Mia (Abba), though it blows all other musical biopics out of the water. Tina’s catalog is sequenced into a timeline to tell her life’s story; “Nutbush City Limits”, released in 1973, opens up Act One of the musical where we meet Tina, born Anne Mae Bullock, who sings too loud for her 1940’s choir, “River Deep Mountain High,” released in 1966, is performed in lockstep to her storyline as she records the track with Phil Spector at the height of her career with Ike Turner, and “I Don’t Wanna Fight,” released in 1993, closes Act One as Tina is making up her mind to leave Ike after 16 years of marital abuse. Tina Turner’s catalog is filled with soulful, emotional, and powerful songs that provide the soundtrack to her life.

The audience is guided through the decades of Tina’s life through seamless stage transitions and beautiful costume design. A shuttered wooden door and simple cloth dresses for the 1940s, the big hair and glittering sequence against a tinsled 1970s Vegas stage backdrop, a microphone and desk in Phil Spector’s studio, bigger hair, a synthesizer, and a denim jacket for the 1980s. 

Zurin Villanueva and Garrett Turner, and cast, in the Broadway tour of "Tina - The Tina Turner Musical" at Nederlander Theatre. Photo by MurphyMade / Handout.

TINA arrives to Chicago and the theater circuit at a pivotal moment. Recent years have been tumultuous for women from the Me Too movement and recent infringement on bodily autonomy. The iconic Turner herself lived through horrid abuse at the hands of a man, and that abuse is still pervasive today. Skinny trends are threatening to plague women and further rollback the body positivity movement. Millennial women are equally too young to have a voice and not old enough to sit at the table despite having children of our own.As we look for hope or simple escapism in 2023, we can draw inspiration from Tina Turner’s remarkable career. She overcame segregation and performed in the Jim Crow south, facing rampant and often unchecked racism, sexism, and physical abuse. Women in Tina’s life loved and supported her as best they could at a time when women had little to no power or belief in their stories. Tina Turner still battled racism during a European resurgence during her work with her Australian manager, Roger Davies, and battled ageism at 45 being told she’s over the hill.As the bevy of female Oscar winners this year will show, the narrative that women’s lives are over at a certain age is patriarchal  nonsense. Without the fighting supportive and uplifting strength of women, Tina Turner would not have prevailed in her career and the world would be all the more dim without her light.

TINA- The Tina Turner Musical is the broadway musical we need to get us out of our seats and singing as Proud as Mary. The musical runs through April 2nd at the James M Nederlander Theater (24 W Randolph St), tickets are available at Broadway In Chicago, get your tickets today before this show rolls on down the river.

Murder in the streets, neighborhoods divided along racial lines, racial and ethnic slurs, glorified mob activities, wise guys, street fights and more. THIS is A Bronx Tale (the musical) on its first national tour after a successful 700 show run on Broadway.

Originally a one person play written and performed by Chazz Palminteri, A Bronx Tale is a 1960s coming of age story of a young Italian-American boy who is lured away from his honest, hardworking, baseball loving blue-collar family by the temptations and glorification of the local mob.

Billed as “a tale about respect, loyalty, love, and above all else: family” it is hard to ignore that the backdrop for the entire story is violence, racism, and dishonesty played to an upbeat, “feel good” doo-wop soundtrack. 

If you’re a fan of West Side Story, Grease, Jersey Boys and other similar stories, you will find A Bronx Tale enjoyable even if it follows a predictable story line where Good wins over Evil in the end. 

Featuring music by Oscar, Grammy and Tony Award winner Alan Menken, and lyrics by Oscar and Tony Award nominee Glenn Slater, the score is light, cheery, and optimistic as it keeps the story and the action moving. 

The design team earned the highest praise from this reviewer for both its authenticity and its simplicity. The set morphed almost invisibly from outdoor to indoor, day to night, without distraction. The choreography and blocking which incorporated set/prop movement was subtle and less intrusive than crew members moving around in the darkness trying to go unnoticed.

The overall performance was pleasant and but possibly a little flat according my row mates. With four of the five leads having performed as part of the original Broadway run, I may have expected too much. From my perspective the vocals lacked depth and at times the orchestra drowned out the vocals.

On a side note: Does every portrayal of an Italian-American have to include a Danny Zuko accent?

A Bronx Tale is currently being performed at Broadway in Chicago’s James M. Nederlander Theater for a limited engagement through March 24, 2019.