Theater

Eureka Day – Broadway Playhouse (TimeLine Theatre Company) – February 4, 2026

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Before getting into a “review” of the play Eureka Day, I wanted to make something clear for the record. I never met or, in any way communicated with, Jeffrey Epstein.

I did, however, go to a baseball game in Oakland (the play takes place in nearby Berkeley) on the evening of June 16, 1971 when Mike Epstein (no relation to Jeffrey as far as I know) hit his third and fourth consecutive home runs, having started his streak in his last two at-bats the day before. I should add that I also got to see Vida Blue that night, in his prime, pitch a complete game (if you are old enough to remember what that is).

Getting back to Eureka Day, I would like to add that I loved the totally unrelated TV show Eureka, which is still available for streaming.

And, before I forget, given his association with the word eureka, without which the name of the school in, and title of, the play would not be as clever as it is, a shout out to Archimedes, our first known streaker, and perhaps the inspiration for the 1970’s craze, which I’m sure included Berkeley.

The play first grabs our attention for the machinations the characters, members of the Eureka Day private school board, go through trying to convince each other and themselves that they are all on the same page about their world views (we’re not fooled) and how the school should operate. The administrator, in particular, might actually hurt his back bending over backwards in his role as a mealy-mouthed conciliator.

As one might imagine, attempts to not offend fall by the wayside when the topic becomes school vaccination policies (the play is set in the school year of 2018-19, when it foresightedly premiered), highlighted by the online chat with parents that had the audience in stitches and, given the topic and the location, made me consider a possible subtitle of “Sittin’ on the Doc of the East Bay.”

Everything seemingly gets resolved, thanks in part to the parents, unlike boards I have been associated with, actually reading the by-laws, as we move into the 2019-2020 school year – what could go wrong?

John C. Reilly is Mister Romantic – Steppenwolf Theatre – Dec. 5, 2025

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I’ve seen Mr. Saturday Night, Mister Roberts and now Mister Romantic, John C. Reilly’s one-man show, if you don’t count the four musicians, but you should, because they’re great.

The evening started when said musicians marched down an aisle to the stage, playing a New Orleans-type walking song. What most caught my attention was the performer who was playing the coronet with one hand, while simultaneously playing the accordion with the other. I later prided myself for this mental note when Reilly, at the end of the show, acknowledged that same skill for the audience.

Reilly, at first, was nowhere to be seen, but suspicions grew when the quartet, after reaching their destination, pulled a steamer trunk, with the words Mister Romantic on it, from stage left. Sure enough, a vaudevillian-like-appearing Reilly arose from the luggage to greet the crowd and announce that he had no memory, other than that he had to find someone who would love him forever in order to be freed from the box.

What followed was Reilly beautifully singing classics such as Dream, What’ll I Do and You Don’t Know Me, accompanied by the musicians he claimed not to know (but was pleased that they knew the same songs he did), and augmented by a lot of amusing schtick, including a fair amount of miming and interaction with the audience, with the hope of finding eternal love and never having to return to his portable home.

He added a little extra spice to the show with a rendition of Earl Okin’s “My Room,” before which he suggested that any children head to the lobby for popcorn.

His quest was not gender specific, as he walked into the audience to engage, rather closely (after asking consent), for a few minutes each, two women and two men, one of whom was me. If I were a rabid fan, I would never wash my eyebrows again.

Paranormal Activity – Shakespeare Theater – Closed Nov. 2, 2025

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Things are a little slow right now, so here’s something I didn’t do.

Paranormal Activity was promoted as being very scary, which was not an incentive to go for me, but compared to what? Is it possible for it to have been scarier than reality, or the ubiquitous AI version of it, where no reservations are required, though I have many?

Instead of going to the play I wound up watching something more frightening – a Bears game.

The warning that came with the show said it had loud noises. Big deal. I hear blaring sirens all day long, with the added threat of having to dodge the emergency vehicles puncturing my eardrums.

The warning said the show had sudden darkness. Big deal. That happened after we turned back the clocks.

The warning said there was stage blood. As long as it’s not my blood, and I’m not asked to drink it, I don’t care.

The play was universally highly-recommended (17 out of 17 reviews). That sounds pretty suspicious to me. Everyone loved it? In this day and age? According to a 2024 Gallup poll, 80% of U.S. adults believe Americans are greatly divided on the most important values. Can’t even universally agree that we don’t agree. And don’t get me started on the Oxford comma.

Front Row: An Insider Series – Steppenwolf Theatre – October 27, 2025

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The next best thing to seeing a Pulitzer Prize and Tony Award-winning play is to go to a program featuring the director and some of the actors discussing the evolution of the work.

Phylicia Rashad (director), Harry Lennix, Alana Arenas and Glenn Davis came together, in a program moderated by Director of New Play Development Jonathan L. Green, to celebrate A Homecoming for the Artists of Purpose at the theater where the work had its world premiere before heading to Broadway.

That I have not seen the play didn’t affect my interest in hearing about the drama behind the drama, highlighted by a discussion of the final hours before the show took wing. Apparently, quite a bit of the script remained uncompleted until late the day before opening night, when Green rushed into the rehearsal on stage from the room where he had been with the author, Branden Jacobs-Jenkins, pages in hand, like a scene out of some other play, announcing the script was done, to the relief of all, but forcing the actors (except for Lennix, who amazed even his colleagues by his quick study) to appear on stage the next night with lines in hand.

The participants used the word canon a lot, describing the play’s status in the theater world and in Steppenwolf’s collection of works, and also spent time articulating their steadfast attitude in bringing the “Steppenwolf way” to Broadway.

All that, and the cookies at the reception were really good.

Blue Heaven – Black Ensemble Theater – Closes October 26, 2025

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Blue Heaven is not a show you go to for the plot or the monologues, which are jammed into the middle section of this 90-minute show to provide some background on the lives of the depicted artists – Howlin’ Wolf, Big Mama Thornton, Muddy Waters, Stevie Ray Vaughan and B.B. King – before it heads into full concert mode.

You do go for the music, and it’s a treat. The only things missing from my days of going to blues clubs were a layer of cigarette smoke and a bottle of beer in hand.

And, if you closed your eyes, the talented cast, aided by a terrific backup band, might make you think you were listening to the original performers. My favorite was probably Cynthia Carter, as Thornton, who brought a delicious feistiness to her part.

The only one of the featured five I ever saw in person was King, as the opening act for the Rolling Stones in 1969. Unforgettable.

I was familiar with about 40% of the songs in Blue Heaven, but, if you’ve listened to enough blues, you think you know the songs even if you’ve never heard them before.

Making Marilyn Miller – Porchlight Music Theatre – October 10, 2025 Workshop

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I’m somewhat embarrassed to say that I’d never heard of Marilyn Miller prior to being invited to see this immersive musical workshop, this despite the fact that she was the biggest star on Broadway at one time (okay, it was the 1920s) and that Norma Jeane Mortenson’s stage name (Marilyn Monroe) had been selected, by studio executive Ben Lyon, because the name reminded him of Miller, with whom he had worked, and, according to the play, liaised, while she was still married to Mary Pickford’s brother Jack.

Before attending, I went online and was pleasantly surprised to find the songs available to listen to.

I loved what I heard, and the songs were even better in person, performed by a stellar cast, which I got to enjoy up close and personal, as opposed to from the 20th row in a 2000 seat theater. No big orchestra, just some really good piano accompaniment.

The play “follows the audition process for a modern musical based on the life of the great Music Theatre icon of the 1920s.” If that sounds a lot like the TV show Smash about the creation of a Broadway musical about Marilyn Monroe, (appropriately, I suppose, given the whole name thing), well, yes and no. Yes as to the decision-making process. No as to any backstage goings on. Yes as to the early tragic deaths of both, Miller at age 37, Monroe at age 36.

Attendees were told that they were investors in the fictional musical. They were
encouraged to move between three rehearsal rooms during the middle section of the show to view the fictional actors working on dialogue, songs and dances and to formulate opinions about casting of the Miller role from the three candidates.

At the end of the audition, attendees were given ballots to vote for which Miller candidate they would choose for the part. Sort of like Sheer Madness or The Mystery of Edwin Drood, except, in this case, no lives, or even careers, were lost.

Prior to the performance, I was pleased to speak briefly with David Bell, the author/lyricist/director of the show, who also authored Southern Gothic, the first immersive play (not a musical) I ever saw, in 2018, at the Windy City Playhouse. After the show, Bell gave a heartfelt speech about what had inspired him to do the project, as attendees and cast members, perfectly cast as themselves, mingled.

Rome Sweet Rome – Chicago Shakespeare Theater – Through October 19, 2025

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Rome Sweet Rome is a product of the Q Brothers Collective (who previously gave us hip-hop versions of A Christmas Carol and Othello: The Remix), not to be confused with the Q Continuum, an immortal group that has been represented in over 20 episodes of various Star Trek series and which, to my knowledge, has never hipped, hopped or put on any kind of musical.

I divided the show into three parts. The beginning didn’t do much for me, even though, fortunately, I had a seat with an unobstructed view of the open-captioning screen so that I could at least understand what was going on.

I loved the middle of the show. I wish I could tell you how much of the entire production that encompassed, but the program does not include any scene or song identifiers.

I can tell you that my enjoyment ratcheted up considerably upon the rendering of the song I Need a Sandwich, which played off that part of the plot that involved a ban on bread by the Roman dictator, who preferred that his subjects ate the salad named after him.

As if it were not enough to borrow from Shakespeare, the cast followed the food frenzy with a couple dance excerpts that enjoyably sounded and looked suspiciously like Monster Mash and Thriller, apropos as Julius Caesar had been told to beware, not the Ides of March, but rather Halloween.

After (spoiler alert) he brutally met his demise at the holiday party, the show went downhill for both Julius and me, for me when it got preachy near the end. I prefer subtlety. I came for entertainment, or possibly an all-powerful alien race, not a political rally.

Catch Me If You Can – Marriott Theatre – Through Oct. 19, 2025

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Catch it if you can. It’s a wonderful show. I’m a big fan of Marc Chaiman/Scott Wittman music and lyrics (who doesn’t love Hairspray, among others) and this production is just another example of why. It’s one very enjoyable song after another by a very strong cast, led by JJ Niemann as Frank Abagnale, Jr., Sean Fortunato as Frank, Sr. and Nathaniel Stampley as FBI agent Carl Hanratty, with an additional special shout out to Mariah Lyttle, as Brenda Strong, who takes full advantage of her moment in the spotlight with the ballad Fly, Fly Sway.

The plot is, of course, ridiculous, but wait, it’s the true story first brought to a lot of people’s attention by the 2002 movie of the same name. Or not. Research suggests that the supposed exploits of Frank Abagnale are greatly exaggerated.

But it’s a fun ride anyway. Suspend your disbelief for a couple hours. (I pretty much do it all the time now anyway.) Listen to the great orchestra and don’t forget to pay attention to all the design elements of the show. In that regard, don’t sleep on the visuals accompanying the song Seven Wonders.

I even got a kick out of watching the 20 cast members making their entrances and exits using the aisles in this theatre-in-the-round. I would love to see the stage manager’s prompt book detailing the stage directions for this fast-moving show. Snagglepuss saying exit stage left doesn’t work when there is no stage left.

New Faces Sing Broadway 1960 (Porchlight Music Theatre) – The Rhapsody Theater – September 30, 2025

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The government may have shut down, but I still get out and Porchlight Music Theatre still puts on entertaining shows.

It was my first time at The Rhapsody Theater (including under its previous incarnation as the Mayne Stage), although I did see the owner, Dr. Ricardo T. Rosenkranz, perform his magic act, and get called up on stage by him, in 2016 at the now-defunct Royal George Cabaret.

Michael Weber, the Porchlight Artistic Director, also calls people up to the stage, as part of the New Faces programs, to ask them often impossibly-difficult Broadway trivia questions, from which he seems to derive great satisfaction, all in good fun.

But the real entertainment comes from the performances by the young cast (introduced by long-time Chicago area performer and director Johanna McKenzie Miller, who also treated us to a song), some of whom may go on to great things in the theater, as suggested by Weber when he mentioned three recent graduates of the 10-year-old New Faces program who are now making national names for themselves.

This incarnation of New Faces took me down memory lane, as one of the featured shows, the Lucille Ball star-driven vehicle Wildcat, was inexplicably the first Broadway musical album I ever heard. As I listened to Lisa Buhelos and Kaitlin Feely sing Hey Look Me Over, I reflected on how much better singers they were than Ball.

1960 produced some memorable shows, and they were represented, but Weber also likes to extract songs from less-than-successful productions, such as Christine, which probably would have done better had it been based on the Stephen King story of the same name, rather than a book by Hilda Werhner (who?), closing after 12 performances.

The evening ended on a high note, actually two, the one concluding Somewhere from West Side Story, and the one confirming my earlier decision to park on the street, as I observed the long line of people trying to retrieve their vehicles from the valet-only, practically inaccessible, paltry parking lot.

The First Lady of Television – Northlight Theatre – Through Oct. 12, 2025

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Gertrude Berg was a television pioneer, but her accomplishments in that regard are totally overshadowed by the real story of the play, the blacklisting that took place in the entertainment industry in the 1940s and 50s.

I’ve seen several movies on the topic – The Front, The Majestic, The Way We Were, Trumbo and Good Night and Good Luck (GN&GL) immediately come to mind, but this was the first time I’ve seen a stage presentation, if you don’t count the filmed version of the recent Broadway production of GN&GL.

Though Berg is the title character, Phil Loeb, who played her husband on The Goldbergs, is the focus of attention. I’d never heard of him before, even though, I’ve now discovered, Hecky Brown, as played by Zero Mostel in The Front, was loosely based on Loeb.

The Goldbergs was a sit-com. The First Lady of Television is not, despite some amusing moments, such as the recreation of a commercial presented by Berg, humorous because it was so corny, not because it was laugh-out-loud funny like the Vitameatavegamin one presented by the second, first lady of television on I Love Lucy.

Rather, the play, as described by the director, presents themes that “are chillingly prescient and sadly so.” One only has to read the daily headlines to agree.