Displaying items by tag: Emma Jean Eastlund

Detroit was burning in the summer of 1967, inside one basement, life was still  going on.

That contrast is at the heart of Dominique Morisseau’s Detroit ’67, now being produced by Pulse Theatre Company in residence at eta Creative Arts Foundation. Directed by Pulse Executive Artistic Director Aaron Reese Boseman, with assistance from the wonderful AnJi White, the production takes us into the lives of people trying to maintain some sense of normalcy as their city moves toward upheaval.

The summer of 1967 was a year of enormous social and political upheaval. Detroit’s Black community was confronting racial discrimination, police brutality and economic inequality while the city was experiencing major changes in population, industry and employment.

Then came July 23.

A police raid on an after-hours establishment on Detroit’s 12th Street ignited five days of unrest. The uprising reflected longstanding tensions involving racial discrimination, police-community relations, economic inequality and the changing landscape of the city. Forty-three people died, hundreds were injured, thousands were arrested, and buildings throughout Detroit were destroyed or damaged.

Yet Morisseau doesn't put the uprising on display for us.

Instead, she puts us in a basement and allows us to listen to the people who have something to lose.

And what a basement it is.

Photo Credit: Aaron Reese Boseman

Kevin M. Rolfs has created a remarkably realistic environment for this after-hours joint. An old washer and dryer, a well-used sofa, a period bar, scraps of wood and exposed beams make the space feel genuinely lived in rather than simply designed. Look around and you will find virtually everything you would expect in a 1960s Detroit basement.

Rolfs has proven himself a master designer, and this is among his best work.

Levi J. Wilkins’ lighting design is equally impressive. The basement does not exist in isolation. Light from outside constantly reminds us that another world is happening beyond those walls. The working fixtures inside, combined with changing light through the windows, establish the passage of time with remarkable precision.

Together with Warren Levon’s sound design, Terri Devine’s period-perfect costumes, and Rueben Echoles’ hair and makeup, the production creates an immersive portrait of 1967 Detroit. The design team doesn’t simply tell us we are in Detroit in 1967—they make us feel that we are there.

To say the ensemble is outstanding would be an understatement.

Shenise Danyel, whom I vividly remember as the maid in Invictus Theatre’s The House That Will Not Stand, is exceptional as Chelle, the level-headed sister whose strength anchors the household.

Tamarus Harvell another exceptional  actor, plays Lank, a recent Vietnam veteran carrying dreams and the complicated weight of returning home from war. His presence reflects another reality of 1967: America was deeply immersed in Vietnam, with young men—including many Black and working-class men—being drafted into military service.

Jimiece Gilbert brings confidence and energy to Bunny, the best friend who knows exactly who she is.

Emma Jean Eastlund plays Caroline, a woman carrying secrets beneath the surface.

And then there is Dairyon Bolden as Sly.

Bolden was the biggest surprise for me. He is a genuine scene stealer, commanding every moment he occupies. That is no small accomplishment with a cast of this caliber. Bolden understands that commanding a scene does not necessarily mean being the loudest person in it. His choices are specific, confident and compelling.

Boseman’s direction brings the emotional life of Morisseau’s play to the surface without forcing it. The pacing is deliberate, and his decision to avoid blackouts between scenes works particularly well. The scenes roll smoothly into one another, creating the sense that life in this basement simply continues. There is no interruption between one emotional moment and the next. The outside world may be changing dramatically, but inside this basement, people still have to live, love, argue, dream and make decisions.

That contrast becomes one of the production’s greatest strengths.

The audience knows what is happening outside. The characters know what is happening outside. Yet the basement remains a place of refuge, business, friendship and possibility.

And that makes the history feel personal.

Detroit ’67 is ultimately about much more than an uprising. Through Morisseau’s writing, it becomes a story about people trying to hold onto one another while the world around them changes. The historical events give the play its pressure, but the characters give it its heart.

Pulse Theatre Company’s 2026–27 season is dedicated to examining Black life, family, memory and mental health across generations. Beginning with Detroit ’67, the company has established a compelling foundation for that exploration.

For Pulse Theatre Company, Detroit ’67 is not simply a production about 1967.

It is a reminder that history lives in rooms, in families, in memories—and sometimes, in a basement where the outside world is beginning to burn.

Highly Recommended

When: Through Nov. 1

Monday, Friday & Saturday 7:30pm

Saturday & Sunday 3:00pm

Where: eta Creative Arts Foundation 7558 S. Chicago Ave. Chicago, Ill.

Running time: 2 hours, 30 mins.

Tickets: $25-$40

(872)306-5734

www.pulsetheatrechicago.org

Andrew Lloyd Webber’s Cats remains one of musical theatre’s most distinctive creations - a sung‑through, dance‑driven spectacle that swaps traditional plot for atmosphere, character portraits, and pure theatrical immersion. Drawn from T. S. Eliot’s Old Possum’s Book of Practical Cats, the musical unfolds as a moonlit gathering of the Jellicle tribe, each feline stepping forward to claim the spotlight before the climactic “Jellicle Choice,” when one is chosen for rebirth into the Heaviside Layer – a new life. Its unconventional structure, eclectic score, and iconic choreography helped define the mega-musical era, earning Cats major awards and record‑breaking runs in both London and New York. And now it’s here!

To kick off their 2026 season, Music Theater Works brings Cats to the North Theatre in the North Shore Center for the Performing Arts, offering Chicago audiences a fresh trip into the Jellicle universe. It’s the perfect time to pounce on this legendary musical - whether you’re drawn by its nostalgia, its high‑energy movement, or the simple delight of watching a community of cats chase belonging and second chances.

Cats has always been one of my very favorite Andrew Lloyd Webber musicals, and revisiting it reminds me why. Its blend of atmosphere, movement, and character‑driven storytelling creates a world that feels both whimsical and strangely profound – a world that is so easy to get lost in.

What continues to give Cats its staying power is the blend of spectacle and emotional resonance. While much of the evening plays as a parade of emotionally grounded ensemble-anchored numbers - playful, mischievous, or grand - the heart of the piece rests with Grizabella (magnificently played in this production by Ava Lane Stovall), the faded glamour cat whose ballad “Memory” became a global standard. The production’s emphasis on movement, atmosphere, and immersive world‑building over traditional linear storytelling makes Cats both polarizing and unforgettable, and its decades‑long staying power proves just how deeply that approach resonates across generations. Music Theater Works captures that essence beautifully, channeling the show’s dreamlike logic and ritualistic energy in a way that feels both faithful and freshly imagined.

Astutely directed and choreographed by Mandy Modic, Music Theater Works makes inventive use of the North Shore Center’s intimate space, transforming nearly every nook and cranny into part of the Jellicle playground. The result is a production where activity seems to spark from every direction, creating a sense of constant motion that borders on ingenious. From the moment the show begins - after a playful prelude of cat videos on a large TV - the cast emerges in the dark, parading down the aisles with glowing cat‑eye glasses that immediately pull the audience into their world. Throughout the performance, strategically placed perches and platforms scattered around the theater keep the action mere inches away, giving some audience members the rare thrill of being fully surrounded by the Jellicle tribe. Though I’ve seen Cats countless times in both the Chicagoland area and New York, this production may well be the one that connected with me the most.

(Center) Ethan Lupp as “Rum Tum Tugger” and members of the cast of CATS in CATS from Music Theater Works, now playing through March 29 at the North Shore Center for the Performing Arts in Skokie.

Sam Nachison brings a commanding warmth to Old Deuteronomy, balancing authority with compassion and grounding the production with a rich, resonant baritone in his self‑titled number. Stovall, meanwhile, delivers a vocally commanding, show‑stopping “Memory” in Act II - an emotional high point that pierced my heart and gave me chills. But what truly elevates this production is how deep the talent runs throughout the ensemble. Whether it’s the big, full‑company showstoppers, the sly, feline physicality woven into every corner of the stage, or the sheer joy of numbers like “Magical Mister Mistoffelees,” the cast proves endlessly engaging. Group sequences such as “Jellicle Songs for Jellicle Cats” and “Journey to the Heaviside Layer” showcase a company working in complete synchronicity, creating moment after moment that dazzles. The memorable beats are as abundant as the cats roaming the theater, each one adding to a production overflowing with energy, precision, and charm.

Throughout the performance, I found myself drawn to different performers at different moments, captivated by their vocals, their movement, and the sheer feline energy they brought to the stage. The ensemble’s commitment was so complete that no matter where I looked, someone was doing something compelling, clever, or beautifully in character. That sense of constant discovery carried straight into the show’s physical feats - from aerial acrobatics to Morgan Schoenecker’s crisp tap breaks as Jennyanydots and even the unexpected skating sequences led by Danny Spagnuolo as Skimbleshanks - making the production a steady stream of surprises. Add in the constant, playful eye contact from cats prancing through the aisles, and every moment feels enchanting - alive with movement, mischief, and immersive detail.

Nick Johnson’s Munkustrap grounds the entire production with a steady, commanding presence, guiding the ensemble and shaping the rhythm of the evening. He moves through the show with an effortless authority - part narrator, part guardian - setting both the emotional and musical pace while keeping the Jellicle world anchored. In doing so, he opens the door for the production’s standout moments to land with even greater impact - and never far from that spotlight is Emma Jean Eastlund’s Bombalurina, slipping in with charisma and precision alongside the rest of the talented ensemble.

Ava Lane Stovall as “Grizabella” in CATS from Music Theater Works. Phots by Brett Beiner.

Another moment that stayed with me was John Cardone’s moving rendition of “Gus: The Theatre Cat.” As Asparagus, he delivers this bittersweet, nostalgic reflection of an aging performer looking back on the glory days of his career. The ache of the number comes from the gap between who Gus once was and who he has become - an actor with a shabby coat, trembling paws, and memories of a time when he was the “terror to mice.” Cardone leans into that fragility with such sincerity that the song lands as both a tribute and a quiet heartbreak.

And from that intimate moment, the production expands back into the vibrant world of the Jellicles. The cats themselves are incredible - brought to life with remarkable clarity thanks to the production’s outstanding creative team. Much of that magic stems from the meticulous work of hair, wig, and makeup designers Megan E. Pirtle and Melanie Saso, whose transformations give each performer a distinct feline identity, and from the richly textured costumes crafted by kClare McKellaston and wardrobe head Kristen Brinati, which add depth, personality, and visual cohesion to the entire tribe. Together, their contributions shape a world so vivid and fully realized that the characters feel as if they’ve stepped straight out of Eliot’s imagination and into the audience’s laps. Credit belongs to every corner of the creative team, from scenic design to sound to lighting, all working together to shape an atmosphere that feels nothing short of Jellicle heaven. Their combined artistry turns the space into a fully realized world - mystical, inviting, and alive with detail - so the audience is immersed from the moment the first cat appears. Every technical element works in harmony to envelop the audience in this moonlit world - sets that invite exploration, sound that wraps around the room, and lighting that shifts the space from mystical to electric in an instant. The result is a production that manages to be both haunting and joyfully alive, lingering in the imagination long after the final note.

What I appreciated most about this rich and colorful production is how it reflects the moment we’re living in. At a time when the world feels unsteady, we’re each our own special kind of “cat,” carrying unique talents and flaws, and offering up our personal histories - our triumphs and our losses to each other our fellow "cats" - as the curtain of world seems to be falling around us. Yet, in that shared vulnerability, we find the strength to realize that as long as we keep supporting one another, the light never truly goes out.

Purr‑fect, meow‑velous, pawsitively delightful, downright meow‑gical - take your pick! Every one of them fits this production like a cat in a sunbeam.

Music Theatre Works’ Cats is being performed at the North Theatre in the North Shore Center for the Performing Arts through March 29^th. For tickets and/or more show information visit https://www.musictheaterworks.com/2026-season/cats/.

Highly Recommended.

This review is proudly shared with our friends at www.TheatreInChicago.com.