Chicago Stage Review

By Robert Andersen

The Ghosts of Treasure Island - A Pirate Musical

Adventure Stage presents its latest book adaptation for younger audiences.  This season’s opener is an adaptation of the 1883 classic by Robert Louis Stevenson cleverly written by Eric Schmiedl of Cleveland, Ohio.  Mr. Schmiedl created this work for the Oregon Children’s Theatre, in collaboration with the pirate rock band Captain Bogg and Salty, where it debuted in April of 2008.

The best way I can start this review is with the first questions from my 11 year old daughter, “I thought they said this was a musical.  Why weren’t there any ghosts?”  I then had to try and defend the concept of the director and playwright.  My first response was that “not all musicals are about the actors singing and dancing.”  “But then what makes this a musical?” she asked.  I replied, “Well, there was the band that sang and interacted a little with the actor’s and the singer kind of danced around.”

The lack of ghosts was a little more involved.  During the post show “curtain conversation” Glenn Stanton, who played George Merry, offered that the “ghosts” were the men of Captain Flint’s original crew who were killed in order to keep secret the location of the treasure.  He went on to explain that there were men in the performance who died and then came back to life to portray the “spirits” that haunt those who seek the treasure.  The young girl who asked the question didn’t buy it either.

Once you get past the initial “HUH?” the show has some strong production points.  The technical aspects apart from the band, which was more of a heavy metal interruption than the rock-and-roll style that they were shooting for, are cleverly conceived and work well for the many location areas.  I particularly like the disappearing mast and use of actual sails.  The costumes are adequately creative and the peg leg of John Silver is exceptional.  Firght Choreographer Matt Hawkins does an excellent job of having eight swords slashing simultaneously.  The actors roll and tumble, slash and parry, and exit seamlessly after dying.  He even throws in some enjoyable slow motion movement timed well with the music.  The actors all carry their accents well with their personal characterizations.  Of note in their “characterizations” are Adam Verner as Ben Gunn, his movement and third person conversations are spot on; James Zoccoli as Long John Silver really sells the leg and Silver’s conniving disposition; and Reginald Kent Robinson Jr. who portrays Squire Trelawney with perfect the pomp and arrogance.

Overall the show is entertaining.  Director Amanda Delheimer presents a very good interpretation of the script.  However, don’t call this a musical because there is a band on stage singing songs about pirates and if anyone is supposed to be a ghost, “raucous” or not, make them look like a ghost.

Jim Hawkins learns that sometimes your dreams and ambitions are not all you thought they would be, enough said.

2 ½ STARS

(“The Ghosts of Treasure Island” runs through May 20 at Adventure Stage Chicago, 1012 N. Noble Street. 773-342-4141)

Adventure Stage Chicago

The Ghosts of Treasure Island production photos by Johnny Knight.

By Robert Andersen

Who says a woman cannot protect a man?  Who says a Princess cannot save a Prince?  Who says the Dragon has to eat you?  You will find the answers to these and many more questions during the latest installment in Lifeline Theatre’s KidSeries, The Last of the Dragons.

If you have never been to one of these events you really should go and if you’re still reluctant because you don’t have kids borrow one for the afternoon, you won’t be sorry.  Lifeline Theatre’s reputation for outstanding adaptations of children’s stories is well deserved and this World Premiere is no exception.  In this case they have taken a classic story by Edith Nesbit and not only brought it to the stage but made it a musical as well.

As the story begins, we meet Princess Andromeda, played by Anne Sears, an independent woman of a new age that questions tradition while respecting her family.  Oh yes, she’s pretty good with a sword and not afraid of a fight.  She’s engaged with her father the King, played by Mike Ooi, in some friendly fencing as he tells her that it is time for her to be engaged in marriage.  The King and his trusted advisor, the talking parrot D’Artagnan, have discussed the Princely prospects and pondered their proposals of married prosperity but there’s just one hitch.  In order to marry the Princess, the Prince must slay the dragon and while one prince is strong and brave he also appears crude and brutish.  The second Prince, on the other hand, is smart and well educated but not very courageous.  Although the King decides on the surety of his daughter’s rescue from the dragon he is undone by his advisor who instead delivers the invitation to the bookworm Prince Stanley of Tuscany, played by Scott Allen Luke; with hopes of a better life after the rescue … if he lives.  The plot is now set in motion with twists and angst worthy of the Bard himself and a little Rogers and Hammerstein thrown in.

From an adult point of view I find the theatrical image wanting.  Wanting what; just a little more.  While it is nice to see this children’s show has the whole Lifeline space to itself, the set still looks like it was made to fit into the trunk of a Buick for afternoon assemblies at school.  The lighting is adequate.  The costumes are a quick fit.  The walk-in gown for the Princess is clever. The King should be a little more regal though and the Prince a little geekier. Even the parrot costume is not quite what I expect from Lifeline.

On the day I attended with my daughters, age 4 and 11, I made a few notes: “pacing, pacing, pacing; singing dull, characters not big enough, Prince and Princess duet was good but all songs seemed a bit long, Beautiful dragon!! but not animated enough”.  As I said earlier this was not originally a musical but with the artful inspiration of Mikhail Fiksel, Lifeline has added another layer to the story.  The score is well written and the song subject matter appropriate but at times I found the lyrics hard to follow and that they were overpowered by the volume of the music.

The point that I return to is, “to whom is this production pointed”?  To that end I rely on my daughters’ insights.  Emma, my oldest, found the story easy to follow and the characters entertaining.  She enjoyed the songs but was more excited by the swordplay. (the apple doesn’t fall far from the tree)  Like her father, however, she has an eye for the spectacle and admitted that the set and costumes were “okay”.

Evelyn, my 4 year old, is still getting used to the concept of the fourth wall.  At the point in the play where the parents come to save their children from the man eating, fire breathing, earth-destroying dragon, Evelyn proceeded to tell them “don’t hurt the dragon, he’s nice, and they’re friends now.” The audience loved it, the actors quietly acknowledged it and my older daughter wanted to crawl under her seat. I thought it a true testament to the success of the actors and production staff that Evelyn was so completely engaged.  This is a kid’s show and from what I saw on the faces of the children in the audience, they loved it all.  My hat goes off to all theatres that provide plays for younger audiences and especially to Lifeline Theatre for continuing its commitment to evocative and entertaining children’s theatre.

The Last of the Dragons is a wonderfully playful adventure that provides an excellent opportunity to share the magic of theater with children.

3 STARS

(”The Last of the Dragons” runs through February 21 at Lifeline Theatre, 6912 N. Glenwood. 773-761-4477.)

Lifeline Theatre :: The Last of the Dragons

The Last of the Dragons production photos by Suzanne Plunkett.

By Robert Andersen

A Barnyard of Talent

Lifeline Theatre scores another hit with their whimsical barnyard talent show!

That crazy duck over at Farmer Brown’s Barn is at it again.  Last year Duck wanted to be President of the barn.  This year Duck wants to win a talent show at the State Fair to get himself a trampoline.  Once again James E. Grote has done a wonderful job of adapting Doreen Cronin’s charming books to the stage.  The original music and lyrics by George Howe highlight the characters of this entertaining story and the talents of this gifted cast. Heather Currie, as Cow, and Amanda Link, as Ewe, deliver exceptional performances.

Director Shole Milos has brought together many of the original team members that created the previous Lifeline KidSeries hit Duck for President!, both on the stage and behind it.  Some of the costumes have changed. The one that I miss is Duck’s, but Costume Designer Jana Anderson has visually realized beautiful costumes that according to my 11-year-old daughter, “looked like they were fun to wear”.  The book’s illustrator, Betsy Lewin, has done masterful work bringing the story to life on paper and Scenic Designer Alan Donahue captures that same essence on stage. I enjoyed it so much that I wanted more.

If there is a down side to this production it is that they have so little space to use.  But don’t misunderstand my intention gentle reader, this production is absolutely delightful!  It is somewhat overshadowed, in my opinion, by the ominous set of the main stage production of Treasure Island.  To Duck’s defense now rush my two daughters, the aforementioned 11-year-old Emma, and my 4-year-old Evelyn: “what do you mean there was a ship on stage?” and “I want to go play on the farm!”  They were completely oblivious.  Well, actually Emma was the one who hit the nail on the head, “I knew that what was back there wasn’t a barn but the show was so good I didn’t care”.  There you have it, what better testament to the quality of a performance than that?  Enough said.

Lifeline proves themselves the perfect theatrical playmates with their completely engaging Dooby Dooby Moo. Reward your kids and yourself this weekend with this brilliantly boisterous barnyard bash!

4 STARS

(”Dooby Dooby Moo” runs through December 6 at Lifeline Theatre, 6912 N. Glenwood. 773-761-4477.)

Lifeline Theatre :: Dooby Dooby Moo

Dooby Dooby Moo production photos by Suzanne Plunkett.

One year ago today Chicago Stage Review was launched. ABOUT - Chicago Stage Review In that time the response from the theater going public and Chicago’s remarkable theater community has been wonderful.

Special thanks must go out to the contributors that have raised the level of coverage and content on Chicago Stage Review with their exceptional talents and thought provoking offerings.

Special thanks to;

Robert Andersen. Chicago Stage Review

Scott Hill. Chicago Stage Review

Matthew Zarris. Chicago Stage Review

Debbie Dodge. Images of a Haunting Stage - Chicago Stage Review

Staging Conflict: Bringing Political Stories to the Theater - Chicago Stage Review

Val Lyle. SOFA / Chicago 2008 - Streams of Artistic Consciousness - Chicago Stage Review

Nancy Lee Heuer-Evans. Uncle Vanya - Chicago Stage Review

Genevieve Crotz. Another Look At Hedwig - Chicago Stage Review

Michael DeJong. Surfacing Masterpiece - Chicago Stage Review

Great appreciation also goes out to all of the artists that create the incomparable work that encompasses Chicago theater. On stage, off stage and peripherally, the efforts of dedicated artists combine to create a thriving collaborative artistic scene that consistently defies the constraints of formulaic product, proving that art can still exist for the sake of art.

It is a privilege and a pleasure to cover the work in Chicago, the most remarkable theatrical community in the country.

Finally, Chicago Stage Review owes the lion’s share of thanks to Alonzo Turner, owner and operator of Subtext Productions. Without his Herculean efforts and support, Chicago Stage Review would not exist.

Best Wishes to everyone involved in creating and supporting the magic that can consistently be found on the stages of Chicago theater.

Thank You for visiting.

Sincerely,

Venus Zarris

Chicago Theatre photos by Venus Zarris

By Venus Zarris

The joys, delights and gifts of theater are truly incalculable. Incalculable because the impact of art on your life lasts as long as you are conscious.

About 30 years ago I was in my first high school play. It was the end of my freshman year and we were working on a production of The Happiest Millionaire. My best friend, still to this day, Bob Andersen was playing the title role. Another dear friend, Michael DeJong, was asked to paint a portrait of Bob in costume that was to hang over the mantle of the set.

Even as a senior in high school, Michael was an award-winning artist with remarkable talent. His portrait not only captured Bob, but also captured Bob in character for the play. Everyone loved the painting and it elevated the production, lending visually exceptional class, style and detail.

When the set was struck, the painting vanished. We thought that Bob took it, but he didn’t. Some people thought that I had it, but I didn’t. It should have been Mike’s but he didn’t have it. For the last 30 years, every time The Happiest Millionaire comes up in conversation we end up mourning the loss of this wonderful portrait.

A couple months ago I got a call from Mike. He said, “You won’t believe what I found!” While looking in his old clarinet case (he was also in band) he saw that there was something stuck in the lining. It was a slide of the portrait that, for so long now, has only existed in our memories!

I asked Mike to send me a high-resolution scan of the slide. I woke up Saturday before last to find the scan attached to an e-mail. The portrait was better than my memory of it. But the condition of the slide was not very good, having been ravaged with time perhaps more so than the rest of us.

I immediately started to retouch the image using Photoshop. I spent about 5 hours that first day, restoring the color saturation, contrast and cleaning every inch from the dust and scratches. It was detailed work but far from painstaking. I was able to intimately enter the world of this portrait, that had been painted by someone who I love OF someone who I love, stroke by stroke.

I was staggered by Michael’s talent, even as a high school senior. I was drawn into the depth of Bob’s character, even as a high school junior.

This painting, and its subsequent restoration, was a labor of love, born so long ago in the theater. These are some of my dearest relationships, also born so long ago in the theater.

Today is Bob’s birthday. He had no idea this masterpiece, that he had thought about and missed for 3 decades, had resurfaced. Last night I took it to his house and surprised him. The look of sheer joy on his face was just another gift, the seed of which was planted in the theater so long ago.

This year, on Bob’s birthday, he is happier than the happiest of millionaires.

(original scan of slide)

(portrait after restoration)

Michael DeJong has been living in New York for the past two decades. Along with being a world class fine artist, he is also the writer of Clean: The Humble Art of Zen-Cleansing and Clean Body:The Humble Art of Zen-Cleansing Yourself, available at Barnes & Nobles stores or on-line at Barnes & Noble or Amazon.com.

His writing can also be found on-line at

Organic Cleaners - Natural Household Cleaning Supplies - thedailygreen.com

and Michael DeJong: Huffington Post

Robert Andersen is a Chicago Writer and a Chicago Fireman. When not extinguishing burning buildings and saving lives, he is reviewing Children’s, Young Adult and Family theater. His theater reviews can be found here on

Chicago Stage Review.com

By Robert Andersen

Children’s Theatre may take many forms, and in Chicago the options are almost endless. The gamut may take you from the parent’s guild in a church basement, to a high school/college workshop, to a full on stage production. It is important, however, to maintain the distinction between “Children’s Theatre” and “Theatre for Young Adults.” Adventure Stage Chicago’s latest production, Katrina: The Girl Who Wanted Her Name Back, is definitely in the latter category. The story involves life choices, conflict resolution, alliances and self-awareness.

The action takes place in New Orleans before and during the landfall of hurricane Katrina. Our heroine, Katrina, is upset to share her name with the storm destined to bring widespread destruction. On the orders of her father, Katrina sets off on her own to help her Aunt Beulah and cantankerous neighbor Mr. Thibeaux get to the safety of a church. Lost and whipped by the storm, the threesome seeks refuge in Perseverance Hall, an old music venue long since closed but haunted by ghosts and the spirits of New Orleans. Through the course of the storm which separates them, Katrina and her father, “Big Daddy”, are aided in their turmoil by unlikely companions.

My 10-year-old daughter pegged the show as “Fantastic, a little sad and a little scary all at the same time!”

The role of Katrina is wonderfully performed by Shakira Lavonne Carter. (so much so that in the after show discussion a question on everyone’s mind was what her real age might be) The ensemble as a whole does an excellent job of bringing the story and the feel of the event across to the audience. My daughter had no problem following the action or character connections.

Director Tom Arvetis assembles an exceptional cast, many born and raised in Chicago, and a combination of accomplished musicians who also play integral parts in the story adding to the wonderful atmosphere and mystique. There is no better way to express the feeling of New Orleans, during a parade or a storm, than with the sound that is unmistakable to this musical location. Colby Beserra, Music Director/Composer, and Co-Music Director Mikhail Eiksel create a score that, as one audience member put it, “reminds you that music can speak as easily as words.”

Being an old stage hand, I cannot fail to mention the functionally simplistic set design of Courtney O’Neil. Her use of multiple levels and depths make excellent use of the stage and keep your attention drawn to the entire picture. The talent of Lighting Designer Jesse Klug is also well displayed. The storm sequence and the appearances of the apparition gave both my daughter and me chills!

This is a story with real world relativity that older adults will enjoy as much as younger adults. It encompasses so much more than the moniker of “Children’s Theatre” normally covers. The unique combination of acting with musicianship demonstrates the unlimited experiences allowed in the world of theatre. This is not only a show to shared as a family but I would highly recommend it to school groups from 5th grade and up.

Adventure Stage Chicago’s world premiere of Katrina: The Girl Who Wanted Her Name Back is an entertaining triumph. This is the perfect show to expose young people to the collaborative world that is theatre.

4 STARS

(”Katrina: The Girl Who Wanted Her Name Back” runs through May 21 at Vittum Theater, 1012 North Noble Street. 773-342-4141.)

Adventure Stage Chicago

DORA THE EXPLORER LIVE!

SEARCH FOR THE CITY OF LOST TOYS

By Robert Andersen

Lights!  Music!  Action!

There’s something special about building a bond with your children around a common passion. I like to involve my daughters in the live theatre experience; they like to involve me in their favorite T.V. shows. When my daughter Emma was younger we went through the Disney phase, “Anything on Ice” was a must see. Evelyn, on the other hand, has now become quite the theatre go-er. I suppose you have to see it first hand to appreciate the level of excitement and anticipation a three-year-old can focus on such an occasion. As I looked around the Chicago Theatre I could plainly see that Evelyn was not alone in her enthusiasm.

Television com- to-life is never easy but cartoon television has its advantages. The audience is less likely to notice anything out of place. The characters cannot be “over the top”. Throw in some audience participation—yelling and dancing—and you have them hooked. The Lost City of Toys is a colorful and exciting show filled with all of the cartoon favorites; Dora’s cousin even makes a special appearance in act two. The children sitting around us all had a wonderful time, and most of the parents did also. What is not to love about your child having SO MUCH FUN? (especially when there’s no clean-up involved!)

From a critical stand point there is little that applies to productions such as these. As a rule with children’s theater, I try to focus on whether the experience entertains the intended audience and offers something of value to young audiences. In that respect Dora the Explorer is spot on! The phenomenon of this little girl, who has single handedly taught Spanish too probably half of this nations’ pre-teens, is incredible.

Dora the Explorer Live! Search for the City of Lost Toys is an enthusiastically engaging and visually vibrant show for young children that will parlay their love for the cartoon into a thrilling introduction to live theater. Schedule the day. Take the kids. You will all have a good fun time!

3 STARS

(”Dora the Explorer Live” runs THIS WEEKEND ONLY (Sat. March 28 & Sun. March 29 @ 11am & 2pm & 5pm) at the Chicago Theatre, 175 N. State Street. 312-462-6300.) 

The Chicago Theatre - Home

By Robert Andersen

Ah, Saint Paddy’s Day. The corned beef, green beer, obnoxious green apparel, and the faint whine of a distant bagpipe, these are the sights and smells and sounds of March. I am a person who enjoys a good Reel or Irish Jig. I can listen to bagpipe music for hours on end. I am amazed when I watch the countless performances of the many Irish Dance schools with their sausage curl hair extensions and brightly embroidered dresses. My music collection includes the names of the Chieftains, the Pogues, James Galway, the Drovers and others. Have you got the picture yet? I am Irish. Imagine then my excitement at seeing Riverdance, the quintessential tribute to Irish dancing.

It was ok.

That is not to say that the dancers, singers and musicians do not perform their hearts out, because they most certainly do. As a testament to their commitment, there were several instances when I felt they were truly enjoying themselves. The principal Irish Dancers, Marty Dowds and Alana Mallon, are quite accomplished and I dare say the best I have seen. The company as a whole is most excellent. In addition to the Irish dancing there is also a very well choreographed demonstration from the Moscow Folk Ballet, which features the remarkable dancing of Igor Karpenko and Natia Rtveliashvili.

The performance is not too long or short nor is it too loud. Perhaps it is too slow, “Too slow you say, how can that be?” Let me explain the problems that I have with Riverdance. Throughout the show there is a recorded narrative delivered with a foreboding tone. This fills the audience in on the strife and pain of the Irish people. Unfortunately, there is very little connectivity between the narration and the dances. I would rather the narration explain the origin of the dance or the story of the songs. The dancers, when they dance, are flawless and energetic.

Between the dance numbers, however, there are too many performances by members of the band as well as some beautiful choral pieces. I do not mean to diminish the quality of their performances but I went to see dancing.

I certainly do not expect the dancers to be on stage constantly. No one could keep that pace up without needing to catch his or her breath from time to time. But Riverdance implies a show of more dancing than the production actually delivers.

Overall, it is an enjoyable event. I don’t know that I will return the next time Riverdance winds through town, but I would recommend it to people who enjoy excellent dancing and Irish culture.

2 ½ STARS

(“Riverdance” RUNS THROUGH MARCH 22 ONLY, at the Rosemont Theatre, 5400 N. River Road, Rosemont. 312-559-1212) Riverdance Homepage Rosemont Theatre Home

By Robert Andersen

Mrs. Piggle-Wiggle returns home!

Lifeline Theatre’s KidSeries favorite returns by popular demand to their fabulous repertoire. First staged over nine years ago, Lifeline ensemble member Christina Calvit’s adaptation of Betty MacDonald’s delightful children’s bestseller (illustrated by Hilary Knight) still holds water. The original book has been a favorite of my two daughters for years. Sometimes compared to Dr. Seuss, because of the fantasy appeal, Mrs. Piggle-Wiggle makes its lessons relatable with more realistic characters and without all of the rhyming.

The closest analogy that I can draw to Mrs. Piggle-Wiggle would tie her to the popular Nanny McFee character. Mrs. Piggle-Wiggle possesses a strange insight into the minds of children and comes up with some unorthodox remedies to their, sometimes unorthodox, behaviors. The lesson Mrs. Piggle-Wiggle brings to parents is – find a way to make children change without knowing you’re changing them.

The lesson she brings to children is - learn quickly from your mistakes and you’ll get more friends and sweet treats.

Or to quote another famous witch, “a spoonful of sugar helps the medicine go down.”

My suggestion to children would be to watch out for kindly neighbor ladies that always smell like cookies, or ugly hags that carry a big stick, or any temp help that arrives by flying umbrella with a bottomless carpetbag.

Lifeline has always been concerned with bringing the theatre experience to all ages and for this I commend them. Their creative forces have never failed to entertain. Sometimes I’ll take a chance and bring my 3-year-old to a show with me, never quite sure of her reaction. Mrs. Piggle-Wiggle had her sitting on the edge of her seat. Each song had her yelling for more, and at the end of the show she looked at me and said, “Let’s do it again Daddy.”

It might serve the storytelling well to update some of the references of Pete Thompson’s.  This is not to say that Scott Allen Luke did not give a wonderful performance, but rather, I don’t think that kids today understand the value of a coonskin cap.

Director John Hildreth presents a remarkably entertaining Mrs. Piggle–Wiggle that shines with an outstanding ensemble, wonderful music, (by Paul Gilvary) and charming staging. It is a captivating continuation of Lifeline’s commitment to producing exceptional theatrical options for younger audiences.

Special note: I would like to point out that all four of the primary actors are debuting their talents for Lifeline Theatre.  While they have all performed with various Chicago theater companies, there first experience with Lifeline is a children’s show and I think their previous experience proves to be a win for Lifeline and the audience.

Mrs. Piggle–Wiggle is delightfully appropriate for boys and girls from 3 to 13. Adults will also enjoy the 50 minutes of toe-tapping, finger-waving fun.

4 STARS

(“Mrs. Piggle –Wiggle” runs through May 5^th at Lifeline Theatre, 6912 N. Glenwood. 773-761-4477.)

Lifeline Theatre :: Mrs. Piggle-Wiggle

Mrs. Piggle-Wiggle production photos by Suzanne Plunkett.

Flight of the Dodo SOARS!

By Robert Andersen

Lifeline Theatre’s latest adaptation of Flight of the Dodo is a delightful flight of fancy. In general, children’s books are based on fantasy and the fantastic and as such provide great exercise for the imagination. Bringing this to the stage, a world of fantasy in itself requires a delicate yet determined mind. The collaborative efforts of Lifeline’s artistic ensemble members Robert Kauzlaric (Adaptation), Victoria DeIorio (Original Music) and Paul S. Holmquist (Director) have done a wonderful job bringing Peter Brown’s fanciful story of community co-operation to life.

While showing off his new expensive coat Penguin receives an unwelcome deposit from a flock of Geese flying by. Incensed that he will never be able to payback their disregard he gathers his other flightless feathered friends (Ostrich, Cassowary, and Kiwi) and rallies them to his cause—the need to fly. The entertaining foursome of “waddlers” arrives at their final solution, a hot air balloon, and they’re off. Each member of the team has dreams of what being high in the sky would be like from licking a cloud to “target pooping”.  After a death defying stunt show for a passing group of Canadian geese, our heroes find themselves being tossed about by a dark and scary storm. Unable to summon help by yelling to the geese, now on the ground don’t ya know, Penguin uses his new found talent to let one fly right at them.

There are many enjoyable aspects to this show. The story’s adapted dialogue blends nicely with the original music and lyrics of Victoria DeIorio, which were well sung by the entire ensemble. Penguin’s opening song seems a little rushed and as I result I missed some of the lyrics; however the harmonies and choral work is wonderful. The only music decision I question is putting a microphone on the Storm Cloud. Kimberley G. Morris’s costume designs are exceptionally delightful.  The four female players all use accents to highlight their bird’s countries of origin, and have studied their bird’s personalities. They are all entertaining but I have to say Eliza Stoughton, as the Kiwi, captured my attention from start to finish.  As a show about “poop” there is not an excess of potty humor.

Flight of the Dodo is a charmingly creative production that engages the audience on many levels. The children are captivated and adults have a wonderful time as well. Once again, Lifeline Theatre’s Kidseries proves to be a perfect destination for family fun! I recommend this show for all ages, 5 and up.

3 ½ STARS

(“Flight of the Dodo” runs through February 22, at Lifeline Theatre, 6912 N. Glenwood. 773-761-4477)

Lifeline Theatre :: Flight of the Dodo

Flight of the Dodo production photos by Suzanne Plunkett