Drury Lane Theatre Announces Casting For CINDERELLA
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By: A.A. Cristi
Drury Lane Theatre continues its 2023-2024 season with the Broadway musical Rodgers + Hammerstein’s Cinderella for the holiday season. This timeless fairytale features music by Richard Rodgers and original book and lyrics by Oscar Hammerstein II, with new book by Douglas Carter Beane, orchestrations by Danny Troob, and music adaptations and arrangements by David Chase.
Rodgers + Hammerstein’s Cinderella runs November 8, 2023 – January 7, 2024, at Drury Lane Theatre, 100 Drury Lane in Oakbrook Terrace. The press opening is scheduled for Thursday, November 16 at 7:00pm. Tickets are available by phone at (630) 530-0111 or online at www.drurylanetheatre.com.
Once upon a time in a faraway land, a young woman wished for a life as beautiful as a fairytale. Experience the classic Rodgers + Hammerstein adaptation of Cinderella this holiday season. Featuring the beloved songs “In My Own Little Corner,” “Impossible/It’s Possible,” and “Ten Minutes Ago,” this magical musical is sure to entrance families of all ages.
Rodgers and Hammerstein’s Cinderella features Lissa deGuzman (Ella), Jeffrey Kringer (Topher), Gisela Adisa (Madame), McKinley Carter (Marie), Ryan Michael Hamman (Lord Pinkleton), Alanna Lovely (Charlotte), Christine Mayland Perkins (Gabrielle), Jeff Parker (Sebastian), and Christopher Llewyn Ramirez (Jean-Michel). The cast also includes Emily Ann Brooks, Leah Casey, Sophie Liu David, Margot Frank, Dani Johns, Kevin Kuska, Austin Nelson Jr., Justin Payton Nelson, Nolan Robinson, Elizabeth Romero, David Sajewich, Maxel McCloud Schingen, Brian Selcik, Andrew Tufano, Shelbi Voss, Amanda Walker, and Travis Austin Wright.
Helmed by director and choreographer Amber Mak (Choreographer for Drury Lane’s Jeff-nominated Singin’ in the Rain), the creative team includes Carolyn Brady (music director), Riw Rakkulchon (scenic design), Theresa Ham (costume design), José Santiago (lighting design), Ray Nardelli (sound design), Anthony Churchill (projection design), Jesse Mooney-Bullock (puppet design) and Cassy Schillo (properties design). Larry Baker is the production stage manager and Casie Morell is the assistant stage manager.
Rodgers and Hammerstein’s Cinderella is rated G.
2023 Non-Equity Jeff Award nominations: Theo Ubique and Kokandy’s ‘Sweeney Todd’ lead the way
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By: Doug George and Chris Jones
The nominations are in for the most recent season of theater productions by Chicago’s non-union theaters, with the list for the 49th annual Non-Equity Jeff Awards announced Tuesday by the all-volunteer Joseph Jefferson Awards Committee.
In recent years, the slate of nominations in the non-Equity wing has grown much larger in number. In 2022, a year that saw reduced numbers of productions, the majority of non-Equity shows produced in Chicago scored at least one nomination, from a committee that has morphed from picking out excellence to supporting the broader theater community.
Theo Ubique Cabaret Theatre was once again a Jeffs favorite, garnering 19 nominations from five productions. Kokandy Productions received 16 nominations, followed by Blank Theatre Company with 14 and Invictus Theatre with 13. The single most celebrated production was Kokandy’s “Sweeney Todd: The Demon Barber of Fleet Street,” with nine nominations
The nominations are across 28 categories among shows from 30 companies in the past season, which was extended due to the pandemic and ran from July 1, 2021, to Dec. 31, 2022. According to the announcement, Jeff Awards members attended 106 qualifying productions.
The Jeff Awards for Non-Equity Theater will be held 7:30 p.m. March 27 at the Park West, 322 W. Armitage Ave.; tickets are available now at www.jeffawards.org
2023 NON-EQUITY JEFF AWARD NOMINEES
PRODUCTION: PLAY
“Botticelli in the Fire” - First Floor Theater
“Malapert Love” - The Artistic Home
“Ruined” - Invictus Theatre
“Solaris” - Griffin Theatre Company
“The Pavilion” - The Artistic Home
“White” - Definition Theatre
“Who’s Afraid of Virginia Woolf?” - Invictus Theatre
PRODUCTION: MUSICAL OR REVUE
“8-Track: The Sounds of the ‘70s” - Theo Ubique Cabaret Theatre
“Cruel Intentions: The ‘90s Musical” - Kokandy Productions
“She Loves Me” - Blank Theatre Company
“Sweeney Todd: The Demon Barber of Fleet Street” - Kokandy Productions
“The Wild Party” - Blank Theatre Company
The cast of "Refuge" at Theo Ubique Cabaret Theatre. (Jay Towns )
PRODUCTION: SHORT RUN
“Buried Child” - AstonRep Theatre Company
“Hertha Nova” - The Impostors Theatre Company
“Marie Antoinette & the Magical Negroes” - The Story Theatre
“Tebas Land” - Chicago Latino Theater Alliance in partnership with the National Museum of Mexican Art
“WILDCATS” - The Neo-Futurists
ENSEMBLE: PLAY
“Medea Material” - Trap Door Theatre
“Refuge” - Theo Ubique Cabaret Theatre
“Ride or Die” - MPAACT - Ma’at Production Association of Afrikan Centered Theatre
“The Secretaries: A Parable” - First Floor Theater
“Who’s Afraid of Virginia Woolf?” - Invictus Theatre
ENSEMBLE: MUSICAL OR REVUE
“8-Track: The Sounds of the ‘70s” - Theo Ubique Cabaret Theatre
“Godspell” - Theo Ubique Cabaret Theatre
“She Loves Me” - Blank Theatre Company
“Sweeney Todd: The Demon Barber of Fleet Street” - Kokandy Productions
“The Wild Party” - Blank Theatre Company
ENSEMBLE: SHORT RUN
“Boeing-Boeing” - Saint Sebastian Players
“Hertha Nova” - The Impostors Theatre Company
“Marie Antoinette & the Magical Negroes” - The Story Theatre
“Urinetown: The Musical” - Surging Films & Theatrics
NEW WORK
Shepsu Aakhu - “Ride or Die” - MPAACT - Ma’at Production Association of Afrikan Centered Theatre
Siah Berlatsky - “Malapert Love” - The Artistic Home
Tina Fakhrid-Deen - “Pulled Punches” - MPAACT - Ma’at Production Association of Afrikan Centered Theatre
Karissa Murrell Myers - “On the Greenbelt” - Strawdog Theatre Company
Ed Rutherford & Jeff Bouthiette - “Mary Rose” - Black Button Eyes Productions
NEW WORK: SHORT RUN
Rachel Borgo - “Hertha Nova” – The Impostors Theatre Company
Ida Cuttler & Nick Hart - “WILDCATS” – The Neo-Futurists
Terry Guest - “Marie Antoinette & the Magical Negroes” – The Story Theatre
DIRECTOR: PLAY
Charles Askenaizer - “Who’s Afraid of Virginia Woolf?” - Invictus Theatre
Rinska Carraso-Prestinary - “Isaac’s Eye” - Redtwist Theatre
Bo Frazier - “Botticelli in the Fire” - First Floor Theater
Julian Hester - “Malapert Love” - The Artistic Home
Ebby Offord - “Ruined” - Invictus Theatre
Ericka Ratcliff - “White” - Definition Theatre
Scott Weinstein - “Solaris” - Griffin Theatre Company
DIRECTOR: MUSICAL OR REVUE
Adrian Abel Azevedo - “Cruel Intentions: The ‘90s Musical” - Kokandy Productions
Jason A. Fleece - “The Wild Party” - Blank Theatre Company
Landree Fleming - “Once Upon a Mattress” - Theo Ubique Cabaret Theatre
Danny Kapinos - “She Loves Me” - Blank Theatre Company
Derek Van Barham - “Sweeney Todd: The Demon Barber of Fleet Street” - Kokandy Productions
DIRECTOR: SHORT RUN
Sean Michael Barrett - “Boeing-Boeing” - Saint Sebastian Players
Terry Guest - “Marie Antoinette & the Magical Negroes” - The Story Theatre
Halena Kays - “WILDCATS” - The Neo-Futurists
Juan Parodi - “Tebas Land” - Chicago Latino Theater Alliance in partnership with the National Museum of Mexican Art
Stefan Roseen - “Hertha Nova” - The Impostors Theatre Company
PERFORMER IN A PRINCIPAL ROLE: PLAY
Kim Boler (Anna) - “After the Blast” - Broken Nose Theatre
Kierra Bunch (Vanessa/St. Diana/Balkonae) - “White” - Definition Theatre
John Drea (Marc Chagall) - “Chagall in School” - Grippo Stage Company
Jacqueline Grandt (Ruth Steiner) - “Collected Stories” - Redtwist Theatre
Alex Benito Rodriguez (Sandro Botticelli) - “Botticelli in the Fire” - First Floor Theater
Ana Santos-Sánchez (Ana Morgana) - “La gran tirana (descarga dramática)” - Aguijón Theater Company
James Turano (George) - “Who’s Afraid of Virginia Woolf?” - Invictus Theatre
Andrea Uppling (Martha) - “Who’s Afraid of Virginia Woolf?” - Invictus Theatre
Rosario Vargas (The Painter) - “Cintas de Seda” - Aguijón Theater Company
Melanie Victoria (Isis) - “Pulled Punches” - MPAACT - Ma’at Production Association of Afrikan Centered Theatre
Tekeisha Yelton-Hunter (Mama Nadi) - “Ruined” - Invictus Theatre
PERFORMER IN A PRINCIPAL ROLE: MUSICAL OR REVUE
Maddison Denault (Kathryn Merteuil) - “Cruel Intentions: The ‘90s Musical” - Kokandy Productions
Sonia Goldberg (Princess Winnifred) - “Once Upon a Mattress” - Theo Ubique Cabaret Theatre
Caitlin Jackson (Mrs. Lovett) - “Sweeney Todd: The Demon Barber of Fleet Street” - Kokandy Productions
Joe Lewis (Will) - “Girlfriend” - PrideArts
Nikki Lynette (Nikki Lynette) - “Get Out Alive” - Haven Chicago
Brandy Miller (Amalia Balash) - “She Loves Me” - Blank Theatre Company
David Moreland (Sebastian Valmont) - “Cruel Intentions: The ‘90s Musical” - Kokandy Productions
Anne Sheridan Smith (Miss Mona) - “The Best Little Whorehouse in Texas” - Theo Ubique Cabaret Theatre
Peter Stielstra (Mike) - “Girlfriend” - PrideArts
Stephanie Stockstill (Mary Rose) - “Mary Rose” - Black Button Eyes Productions
Karylin Veres (Queenie) - “The Wild Party” - Blank Theatre Company
Kevin Webb (Sweeney Todd) - “Sweeney Todd: The Demon Barber of Fleet Street” - Kokandy Productions
PERFORMER IN A PRINCIPAL ROLE: SHORT RUN
Ida Cuttler (Ida Cuttler) - “WILDCATS” - The Neo-Futurists
Jim Morley (Dodge) - “Buried Child” - AstonRep Theatre Company
Tommy Rivera-Vega (Martín) - “Tebas Land” - Chicago Latino Theater Alliance in partnership with the National Museum of Mexican Art
Esteban Schemberg (S) - “Tebas Land” - Chicago Latino Theater Alliance in partnership with the National Museum of Mexican Art
Keaton Stewart (Eve) - “Hertha Nova” - The Impostors Theatre Company
Joshua Paul Wright (Robert) - “Boeing-Boeing” - Saint Sebastian Players
PERFORMER IN A SUPPORTING ROLE: PLAY
JoAnn Birt (Mary Anne) - “When We Were Young and Unafraid” - AstonRep Theatre Company
Carley Cornelius (Jane) - “White” - Definition Theatre
Emilie Rose Danno (Esperanza) - “Malapert Love” - The Artistic Home
John Drea (Ray) - “Solaris” - Griffin Theatre Company
Courtney Gardner (Salima) - “Ruined” - Invictus Theatre
Stanley King (Christian) - “Ruined” - Invictus Theatre
Arielle Leverett (Arthur/Sam) - “After the Blast” - Broken Nose Theatre
Rachel Livingston (Honey) - “Who’s Afraid of Virginia Woolf?” - Invictus Theatre
marssie Mencotti (Clara) - “Hay Fever” - City Lit Theater Company
Frank Nall (Phischbreath) - “Malapert Love” - The Artistic Home
Jackie Seijo (Actor/Dying Man Named Sam) - “Isaac’s Eye” - Redtwist Theatre
Todd Wojcik (Narrator) - “The Pavilion” - The Artistic Home
PERFORMER IN A SUPPORTING ROLE: MUSICAL OR REVUE
Bryce Ancil (Arpad Laszlo) - “She Loves Me” - Blank Theatre Company
LJ Bullen (Kate) - “The Wild Party” - Blank Theatre Company
August Forman (Prince Dauntless) - “Once Upon a Mattress” - Theo Ubique Cabaret Theatre
Andrew Fortman (King Sextimus) - “Once Upon a Mattress” - Theo Ubique Cabaret Theatre
Rachel Guth (Ilona Ritter) - “She Loves Me” - Blank Theatre Company
Mia Nevarez (Lead Vocalist) - “8-Track: The Sounds of the ‘70s” - Theo Ubique Cabaret Theatre
Anabella Oddo (Cecile Caldwell) - “Cruel Intentions: The ‘90s Musical” - Kokandy Productions
Patrick O’Keefe (Tobias Ragg) - “Sweeney Todd: The Demon Barber of Fleet Street” - Kokandy Productions
Anne Sheridan Smith (Queen Aggravain) - “Once Upon a Mattress” - Theo Ubique Cabaret Theatre
Kevin Webb (Chaplain) - “Mary Rose” - Black Button Eyes Productions
PERFORMER IN A SUPPORTING ROLE: SHORT RUN
Valerie Gerlock (Gretchen) - “Boeing-Boeing” - Saint Sebastian Players
Samm Hilger (Guide/Professor Simpkins/Head Waiter/Objector) - “Hertha Nova” - The Impostors Theatre Company
Dakota Hughes (Hunchback) - “Frankenstreisand” - Hell in a Handbag Productions
Nolan Robinson (Reuben) - “St. Sebastian” - Refracted Theatre Company
Korinne Yonan (Little Sally) - “Urinetown: The Musical” - Surging Films & Theatrics
SOLO PERFORMANCE: SHORT RUN
Flaco Navaja (Flaco Navaja) - “Evolution of a Sonero” - UrbanTheater Company
SCENIC DESIGN
Jeremiah Barr - “When We Were Young and Unafraid” - AstonRep Theatre Company
Jonathan Berg-Einhorn - “Isaac’s Eye” - Redtwist Theatre
Kevin Rolfs - “Ruined” - Invictus Theatre
Kevin Rolfs - “Who’s Afraid of Virginia Woolf?” - Invictus Theatre
Joe Schermoly - “Solaris” - Griffin Theatre Company
COSTUME DESIGN
Uriel Gómez - “Once Upon a Mattress” - Theo Ubique Cabaret Theatre
Jessie Gowens - “The Strange Case of Dr. Jekyll and Mr. Hyde” - Idle Muse Theatre Company
Beth Laske-Miller & Bill Morey - “A Fine Feathered Murder” - Hell in a Handbag Productions
Cindy Moon - “She Loves Me” - Blank Theatre Company
Hilary Rubio - “Botticelli in the Fire” - First Floor Theater
Rachel Sypniewski - “Sweeney Todd: The Demon Barber of Fleet Street” - Kokandy Productions
SOUND DESIGN
Eric Backus - “Solaris” - Griffin Theatre Company
Danny Rockett - “Medea Material” - Trap Door Theatre
Willow James - “Botticelli in the Fire” - First Floor Theater
L.J. Luthringer - “The Strange Case of Dr. Jekyll and Mr. Hyde” - Idle Muse Theatre Company
Petter Wahlbäck - “The Pavilion” – The Artistic Home
LIGHTING DESIGN
Benjamin Carne - “Botticelli in the Fire” - First Floor Theater
G. “Max” Maxin IV - “Sweeney Todd: The Demon Barber of Fleet Street” - Kokandy Productions
Brandon Wardell - “Solaris” - Griffin Theatre Company
Hannah Wein - “Medea Material” – Trap Door Theatre
Levi J. Wilkins - “The Pavilion” - The Artistic Home
Marcela Muñoz & Augusto Yanacopulos - “Cintas de Seda” - Aguijón Theater Company
CHOREOGRAPHY
Keeley B. Morris & Jacinda Ratcliffe - “Get Out Alive” - Haven Chicago
Laura Savage - “Cruel Intentions: The ‘90s Musical” - Kokandy Productions
Lauryn Schmelzer - “The Wild Party” - Blank Theatre Company
Jenna Schoppe - “The Best Little Whorehouse in Texas” - Theo Ubique Cabaret Theatre
Jenna Schoppe - “Godspell” - Theo Ubique Cabaret Theatre
ORIGINAL MUSIC IN A PLAY
Eric Backus - “Solaris” - Griffin Theatre Company
Satya Jnani Chávez & Andrew Rosendorf - “Refuge” - Theo Ubique Cabaret Theatre
Jonathan Guillen - “Medea Material” - Trap Door Theatre
L.J. Luthringer - “The Strange Case of Dr. Jekyll and Mr. Hyde” - Idle Muse Theatre Company
Danny Rockett - “The Martyrdom of Peter Ohey” - Trap Door Theatre
MUSIC DIRECTION
Satya Jnani Chávez - “Refuge” - Theo Ubique Cabaret Theatre
Isabella Isherwood - “Cruel Intentions: The ‘90s Musical” - Kokandy Productions
Aaron Kaplan - “The Wild Party” - Blank Theatre Company
Jeremy Ramey - “8-Track: The Sounds of the ‘70s” - Theo Ubique Cabaret Theatre
Jeremy Ramey - “Godspell” - Theo Ubique Cabaret Theatre
Nick Sula - “Sweeney Todd: The Demon Barber of Fleet Street” - Kokandy Productions
PROJECTION DESIGN
Yeaji Kim - “Solaris” - Griffin Theatre Company
Abboyé Lawrence - “Pulled Punches” - MPAACT - Ma’at Production Association of Afrikan Centered Theatre
G. “Max” Maxin IV - “Dr. Horrible’s Sing-Along Blog” - Black Button Eyes Productions
Chris Owens - “Get Out Alive” - Haven Chicago
Erin Pleake - “Chagall in School” - Grippo Stage Company
ARTISTIC SPECIALIZATION
The Ensemble (Movement) - “Medea Material” - Trap Door Theatre
Jabberwocky Marionettes (Puppet Design) - “After the Blast” - Broken Nose Theatre
Jabberwocky Marionettes (Puppet Design) - “A Fine Feathered Murder” - Hell in a Handbag Productions
Royen Kent (Wig Design) - “The Secretaries: A Parable” - First Floor Theater
Adolfo Romero (Puppet Design) - “Refuge” - Theo Ubique Cabaret Theatre
Augusto Yanacopulos (Properties Design) - “La gran tirana (descarga dramática)” - Aguijón Theater Company
ARTISTIC SPECIALIZATION: SHORT RUN
Daphne Agosin (Lighting Design) - “Tebas Land” - Chicago Latino Theater Alliance in partnership with the National Museum of Mexican Art
Dominick Vincent Alesia (Original Music in a Play) - “Hertha Nova” - The Impostors Theatre Company
Tim Huggenberger (Choreography) - “Urinetown: The Musical” - Surging Films & Theatrics
Darwin Noguera (Music Direction) - “Evolution of a Sonero” - UrbanTheater Company
Emil Zbella (Set Design) - “Boeing-Boeing” - Saint Sebastian Players
Porchlight Music Theatre’s New Faces Sing Broadway 1951
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By Wendi Kromash
Look out, Audra McDonald. There are ten new actor-singers nipping at your dainty heels.
Monday night’s concert at SPACE (1245 Chicago Ave.) featured Porchlight Music Theatre’s New Faces Sing Broadway 1951 which showcased ten outstanding up and coming performers in Chicagoland musical theater. This was the first time back at SPACE since 2020 and the eighth New Faces production overall
Chosen for their talents as actors, singers and dancers, the five men and five women demonstrated their singing prowess and captivated the audience with songs from shows both well known and obscure. The New Faces for this show are Daryn Alexus, Daniel De Cranie-Pierre, Nick Johnson, Abbey Loria, Caroline Lyell, Luke Nowakowski, Ziare Paul-Emile, Alix Rhode, Nolan Robinson and Jerod Turner.
The new faces in “New Faces Sing Broadway 1951.” Top row, from left: Daryn Alexus, Daniel De Cranie-Pierre, Nick Johnson, Abbey Loria and Caroline Lyell. Bottom row, from left: Luke Nowakowski, Ziare Paul-Emile, Alix Rhode, Nolan Robinson and Jerod Turner.
Each performer sang a solo, a duet and a small group number, plus joined in the opening and closing songs and the two sing-along numbers.
The songs were from musicals performed during the 1951 Broadway season, which ran from Sept. 1950 through Aug. 1951. It was a rich year for theater and saw the debuts of timeless classics like South Pacific, Peter Pan, The King and I and Guys and Dolls. It was also a year for a flop called Flahooley, which lasted 40 performances.
But even a flop can have a song worth singing. Under the musical direction of Dr. Michael McBride, a Jeff Award-winning music director, every song on the program sounded wonderful thanks to the respective New Face assigned to sing it. McBride was on stage and accompanied each song on piano. David Fiorello directed.
David Girolmo, a Broadway veteran of more than 100 shows and winner of a Jeff Award, hosted and sang the opening and closing songs–both from South Pacific–with the New Faces. He also sang a solo midway through the show, “They Call the Wind Maria” from the musical Paint Your Wagon.
As the host, he provided the narrated context summarizing each show, recalling who starred, wrote and directed, and explained the relevant historical context.
Black and white slides from the original productions were shown on a large screen behind the stage and accompanied the narration. Girolmo shared some theater trivia that might surprise anyone other than a theater maven. For instance, Boris Karloff (yes, that Boris Karloff) starred in Peter Pan as Mr. Darling and James Hook. Ray Bolger (he played the Scarecrow in The Wizard of Oz) played the lead in Where’s Charley?
Girolmo also led two singalongs that had the New Faces fanning out into the audience to encourage participation. They made it easy–the lyrics were projected on a large screen behind the stage and the songs were well known: “Getting to Know You” from The King and I and “I’m Gonna Wash That Man Right Outa My Hair” from South Pacific.
Every New Face delivered their assigned songs with flair, but a couple stood out. Caroline Lyell and Nick Johnson sang “Sue Me” from Guys and Dolls. Lyell crushed it. Every word, eye roll, body posture, hand gesture and New York twang made this song a highlight. She and Johnson had great chemistry and perfect comic timing together, which added to the fun. She also delivered a sensational version of “If You Hadn’t (But You Did)” from Two on the Aisle.
Luke Nowakowski followed with “Sit Down You’re Rocking the Boat,” also from Guys and Dolls. He nailed his solo and took over the stage with his commanding voice. The two songs from Guys and Dolls reinforced what a timeless and terrific show it is.
Alix Rhode and Daniel de Cranie-Pierre delivered a sizzling version of “From this Moment On.” They had great chemistry on stage, enhanced by their vocal chops. The song was written by Cole Porter for the musical Out of This World, which has become a jazz standard sung by numerous singers, including Frank Sinatra, Lena Horne and Diane Krall. Rhode and Cranie-Pierre are in good company.
Evanston’s own Nolan Robinson sang a beautiful rendition of the emotional love song, “We Kiss in a Shadow” from The King and I as his solo. He also sang a rousing duet with Jerod Turner, “Guys and Dolls” from the musical of the same name.
ETHS, Northwestern grad picked for Porchlight’s ‘New Faces Sing Broadway 1951’
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By Wendi Kromash
Nolan Robinson, a recent graduate of ETHS and Northwestern University, has been selected as one of 10 up-and-coming performers in this year’s New Faces Sing Broadway series produced by Porchlight Music Theatre.
Porchlight, a center for musical theater in Chicago, has received honors including 49 Joseph Jefferson (“Jeff”) Awards and 15 Black Theatre Alliance awards. Its innovative New Faces series features songs from Broadway musicals that debuted during the 1951 Broadway season, September 1950 through August 1951. The New Faces program creates a platform for and draws Chicagoland’s attention to emerging talent.
Robinson got the good news via email about 10 days after his audition, where he sang “They Call the Wind Maria,” a hit song from the show Paint Your Wagon. The ballad, with lyrics by Alan J. Lerner and music by Frederick Loewe, is a love song of longing that was one of the most popular songs of 1951.
Initially Robinson assumed he had not been selected due to the lag time between his audition and being notified, so he was “shocked and surprised” to receive the good news.
“Porchlight is unlike any other theater organization,” Robinson said. “They choose people with potential and they make their own stars. It means they believe in you and want other people to see you.”
The new faces in “New Faces Sing Broadway 1951.” Top row, from left: Daryn Alexus, Daniel De Cranie-Pierre, Nick Johnson, Abbey Loria and Caroline Lyell. Bottom row, from left: Luke Nowakowski, Ziare Paul-Emile, Alix Rhode, Nolan Robinson and Jerod Turner. Credit: Porchlight Music Theatre
In addition to Robinson, the other performers selected include Daryn Alexus, Daniel De Cranie-Pierre, Nick Johnson, Abbey Loria, Caroline Lyell, Luke Nowakowski, Ziare Paul-Emile, Alix Rhode and Jerod Turner. The performers will sing songs from an array of shows including Guys and Dolls, The King and I, and Paint Your Wagon.
Each performer is assigned a solo, a duet and a small group number, is included as part of the ensemble for the opening and closing songs, and also participates in sing-along numbers.
In an email, Robinson wrote, “I’ll be soloing ‘We Kiss in a Shadow’ from The King and I and dueting ‘Guys and Dolls’ from Guys and Dolls. And I am in one of the group numbers singing ‘Top Banana’ from the show Top Banana.”
“My audition for New Faces was less nerve-wracking than other auditions I’ve had because I know this team. They are friends who are professional mentors,” he said.
Robinson was first selected for a Porchlight show when he was a senior at ETHS. He understudied for two roles in The Scottsboro Boys, but did not see any time on stage. There have been a few other roles since, but nothing as big as New Faces. He graduated from ETHS in 2017 and from Northwestern in 2021.
Director, performer and composer David Fiorello directs this show. Michael McBride, a Jeff Award-winning music director, composer and educator, provides music direction and arrangements. David Girolmo, a Broadway veteran of more than 100 shows and winner of a Jeff Award, hosts and sings the opening and closing numbers, accompanied by the 10 performers.
Robinson said Porchlight creates a comfortable environment for up-and-comers in the artistic community.
“They see talent in anyone they’ve worked with or heard about. They reach out to get to know you. If you are good, have heart, are kind and focused, they want to work with you,” he said.
For New Faces, now in its eighth season, the 90-minute show is woven together with narration of historical events from that time period, which provide context for the musicals and songs selected. It will also include opportunities for audience participation, such as sing-alongs and a trivia contest with Porchlight merchandise offered as prizes. Two additional New Faces programs are planned for later in the year.
There are only two performances scheduled. The first will take place at 7:30 p.m. Monday, Jan. 23, at Evanston SPACE, 1245 Chicago Ave. The second show is the following evening, at 7:30 p.m. Tuesday, Jan. 24, at The Arts Club of Chicago, 201 E. Ontario St.
Tickets are $37 for the Evanston show and $70 for the Chicago performance; the Chicago ticket price includes a pre-show cocktail hour. Tickets are available at PorchlightMusicTheatre.org or by calling the Porchlight Music Theatre box office, 773-777-9884.
Evanston native and Northwestern grad Nolan Robinson to take part in “St. Sebastian”
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By Myrna Petlicki
Evanston native Nolan Robinson graduated from Northwestern University just a year ago but he already has a thriving professional theater career.
Robinson is going directly from a critically-acclaimed performance in “My Brother Langston” at Black Ensemble Theater to the role of Reuben in Refracted Theatre Company’s world premiere of “St. Sebastian” by Andrew Kramer at Chicago’s Den Theatre, Sept. 15 through Oct. 2.
“It’s kind of cool that I’m working on two world premieres,” said Robinson, who moved from Evanston to Skokie a couple of years ago.
He described his character in “St. Sebastian” as “incredibly smart and witty, especially for his age, being a young teenager. He reminds me of me in that at any given moment there can be many different thoughts bouncing in my head. I say one and then I say another one. I think that’s exactly what Reuben does.”
Robinson added that even though Reuben is aware that he is surrounded by prejudice and discrimination, “he still tries to find the goodness in the world and the goodness in other people.”
The actor likes the fact that the playwright made Reuben a complex 13 or 14-year-old.
He has “passion about the world but also has an understanding of what it is that divides us,” Robinson said.
Robinson launched his acting career in fourth grade at Willard Elementary School in Evanston, playing the title role in “Robin Hood.”
“Since then, I’ve been in theater,” he said. “I got more involved in it when I was in middle school.”
Robinson was 17-years-old and a senior at Evanston Township High School when he earned his first professional role at Porchlight Music Theatre. His credits with that theater company include “Spring Awakening,” “Passing Strange,” “Blues in the Night,” “1776,” and “The Scottsboro Boys.”
“A lot of the recent roles I’ve done have been understudying or being a standby in shows,” Robinson noted. “That showed me how I work as an actor when I know I won’t be performing all the time.”
One of his favorite roles was that of Youth in “Passing Strange,” for which he earned a 2022 Black Theatre Alliance Award nomination for Best Leading Actor in a Musical.
“It was a two-week process,” Robinson noted. “It was part of a series at Porchlight where they bring back old shows and perform them for a few performances. It’s called Porchlight Revisits. I was in every scene in the show except for one. It was a challenge but also very exciting to see how fast I could learn. It is a pop rock musical. I did things with my voice and body that I hadn’t done before.”
In addition to being an actor, Robinson is a writer. His short film, “Grief Night Club,” was nominated for a student production award at the 2021 Chicago Emmys. Beyond writing the film, he worked as the director, a principal performer, producer, lyricist and choreographer.
Never one to slow down, Robinson is currently writing a television pilot. He also works as a building supervisor and membership service representative at Northwestern’s Sports Pavilion.
“One thing I love about it so much is not only are my co-workers and managers supportive of my career, they acknowledge when I need to go for a performance or I have a rehearsal or have an audition,” he related. They tell him, “Go do your career.”
For more information about “St. Sebastian,” visit refractedco.com.
Myrna Petlicki is a freelance reporter for Pioneer Press.
Casting Announced For Refracted Theatre's ST. SEBASTIAN World Premiere
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By A.A. Cristi
Refracted Theatre Company has announced casting for its world premiere of Andrew Kramer's dark comedy St. Sebastian, directed by Artistic Director Graham Miller.
The play features Nolan Robinson, Mack Spotts and Adam Thatcher. Understudies include Matheus Barbee and Evan B. Smith.
Launching Refracted Theatre's inaugural Chicago season, this three-hander about a queer white couple that moves into a historically Black neighborhood will be presented September 15 - October 2, 2022 at The Den Theatre (2B), 1331 N. Milwaukee Ave. in Chicago's Wicker Park neighborhood. Tickets are currently available at thedentheatre.com. The press opening is Saturday, September 17 at 8 pm.
St. Sebastian is Refracted Theatre Company's Chicago debut production. The play is a dark comedy with a disturbing edge. Ben convinces his much younger boyfriend Gideon to move out of their apartment in the city to flip a house... but he leaves out that the new house is in a historically (and currently) Black neighborhood. When Ben befriends and employs a local neighborhood kid named Reuben, the blurry line between ignorance, activism and fear lays bare how perniciously racism hides just beyond the face of "wokeness." After five years of development on St. Sebastian, Playwright Andrew Kramer (Armature), whose plays have been seen across the country and internationally, will work with a team of Refracted artists to deliver his beautiful, complex work on stage, fully produced for the first time.
Playwright Andrew Kramer comments, "In a time where political and social discourse often seems more like a battle bootlessly fought than a connective campaign of hope, I'm thrilled to introduce Chicago audiences to Refracted Theatre Company's world premiere production of St. Sebastian. Our words are our weapons we use to wound and our language our link to healing; if the COVID-quarantine/the country's racial reckoning of summertime 2020 has taught us anything, it's that being restricted to close quarters with loved ones can be as frustratingly difficult as it can be lovely and comforting. As we return to live theatre, St. Sebastian seeks to explore the ways in which our most intimate relationships can also become the most volatile - especially when we disagree about matters of sexuality, race, religion and responsibility. Through lean mean-muscle theatrics and confronting, propulsive language, we're refracting the questions of St. Sebastian directly to attending audiences: how can we learn to speak and listen just the same, instead of barking through the fence, like rabid dogs, at the faces of those with whom we disagree?"
Director Graham Miller adds, "From the title alone, St. Sebastian, I think people will have preconceived notions of what this play is. And to be honest, that's kind of perfect, because this play is about just that...our latent prejudices that keep us from seeing things as individual, and the struggle to fit the individual into a larger context. Everyone who has read early drafts has reacted by saying they were surprised by the way it twists itself deeper into knots - knots that I believe will leave an audience thinking about their daily interactions for a long time. This play provides an opportunity for us to see ourselves and each other with more clarity, and that can be uncomfortable... and that's okay! In fact, it's necessary, but it needn't be treacherous. It can be hilarious, terrifying, and ultimately, even healing."
The production team includes Catalina Niño (Scenic Designer), Emily N. Brink (Costume Designer), Levi Wilkins (Lighting Designer), Deon Custard (Sound Designer), Dramaturg (Jasmine B. Gunter), Austin Lichtman (Technical Director), AEI Consultant (Dr. Durell Cooper) and Erin Nicole Eggers (Production Stage Manager).
Speakers reflect on importance of striving for change in virtual 2021 Commencement
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By Jacob Fulton
Speakers emphasized ways the Class of 2021 can create change in their lives and the lives of those around them during Northwestern’s virtual 2021 Commencement on Monday.
Gwynne Shotwell (McCormick ’86, ’88), the COO and president of SpaceX, was this year’s graduation speaker. Shotwell, who also serves on NU’s Board of Trustees, recounted her career and discussed the importance of educational reforms across the United States. She called on the Class of 2021 to prioritize positive change over personal goals. With the right mindset, she said, success will follow anywhere.
“Growing up, my friends and colleagues focused on getting ahead with an aside or afterthought that maybe we should do something good for the world,” Shotwell said. “But as I accumulate more life lessons, finding a career where you’re in pursuit of a better world leads to you getting ahead.”
Shotwell also emphasized the importance of taking risks and living with kindness in her speech. She said these steps, coupled with a passion for bettering the lives of those around them, will help graduates achieve greatness and fulfillment no matter what path they take.
Following Shotwell’s speech, 2021 Communication graduate and student commencement speaker Nolan Robinson reflected on the role this year’s graduates have played in shaping the culture of the University.
“Throughout the past few years, Northwestern has grown into what we hoped our collegiate home to be, but sometimes it didn’t give us everything we needed entirely as we needed it,” Robinson said. “Nevertheless, we, the students, the graduating body of scholars, have never failed to be exactly what Northwestern has needed, not only these past few years, but the past 163.”
Robinson cited campus-wide movements like NU Community Not Cops and the graduate workers’ strike as events from the Class of 2021’s time on campus indicating students’ penchant for enacting change at the University. He said this year’s graduates have left their mark on NU, and their impact will be seen for years to come.
Tarana Burke, the founder of the #MeToo movement and an honorary degree recipient this year, told graduates internal growth is equally as important as transformation at the institutional and global level.
Burke said her work and activism focuses on healing and self-discovery after trauma — which has become incredibly relevant amid the turmoil of the past year and a half.
“I hope the students graduating today and those still at Northwestern have experienced that growth,” Burke said. “And I hope the school understands that this growth happens inside and outside of the classroom and to be sure that the students feel safe and they feel heard and they feel helped.”
‘Try that risky thing — be a part of something exciting’
By Megan Fellman
Northwestern University’s 163rd commencement ceremony — the conferring of degrees to all of this year’s graduates — was a jubilant and traditional celebration of the resilient Class of 2021, capping a busy hybrid weekend of in-person school convocations and many virtual special events with plenty of festive purple throughout.
Thousands of graduates, family members and friends from around the world watched Monday’s event via livestream, the second year the event was held virtually due to the global pandemic and safety concerns. Beautiful and moving music opened and closed the 75-minute Commencement ceremony honoring 5,973 students who earned undergraduate and graduate degrees.
Related: Watch a highlight reel of the sights and sounds of graduation weekend
Graduating senior Sarah Liu introduced keynote speaker Gwynne Shotwell, a double alumna of the McCormick School of Engineering and a Northwestern trustee, as a pioneer in aerospace technology, a leader dedicated to improving the country and “a woman in our alumni family who embodies the Northwestern spirit.”
Better prepared for the new normal
In her wide-ranging remarks to the Class of 2021, Shotwell noted the significant and varied challenges that the graduates faced as they completed their education, and she assured them the resulting strength will serve them well.
“All graduations deserve a celebration, but you, this Class of 2021, have an even greater achievement,” said Shotwell, president and COO of SpaceX. “You not only survived but succeeded throughout the insanity of 2020 and into this year. You were able to focus and invest in your future during a period of immense suffering.
“Though many of the issues that we face going forward will be different, I think highly dynamic social, political and economic situations are the new normal,” she said, speaking from SpaceX headquarters, also known as the rocket factory. “And you are now better prepared to succeed in them — you have lived it, and not just survived, but succeeded. Feel good about that and carry that new skill with you.”
Drawing from her own early experience of exploring and establishing a career, Shotwell encouraged the graduates to set and try to achieve “absolutely absurd” goals.
“When I was considering joining SpaceX back in 2002, I was struggling with the decision and drawing it out for weeks. It seemed so risky for me personally, to join this little startup in an industry where none had ever succeeded. At the time, I was a part-time single mother, and this was just too far out of my comfort zone.
“I was driving on the freeway here in LA when it finally hit me — I was being a total idiot,” Shotwell remembered. “Who cares if I tried this job and either I failed or the company failed? What I recognized at that moment was that it was the trying part that was the most important. Try that risky thing — be a part of something exciting.”
She added that her years helping grow SpaceX from 10 people to nearly 10,000 taught her to work hard and be helpful and also to be kind and respect others.
“In short, the best way to find solutions to hard problems is to listen harder, not talk louder,” Shotwell said. “Embrace the ideas of your fellow workers, especially when they differ greatly from yours.”
The ceremony began with an energetic rendition of “Pomp and Circumstance” performed by musicians from the Class of 2021 followed by baritone Dario Amador-Lage, a graduating senior in the Bienen School of Music, singing the national anthem. The familiar pieces performed by students helped bring the scattered audience together and underscore the significance of the day.
Northwestern President Morton Schapiro welcomed the graduates and everyone in the virtual audience and acknowledged the graduates’ unusual circumstances while focusing on their achievements.
“Graduates, your final year here wasn’t highlighted by some of the traditions that characterize the Northwestern experience in any ordinary year,” he said. “I’m saddened by that. But these are extraordinary times, and you are extraordinary people, with extraordinary gifts. And I believe you’ve been prepared by your teachers and mentors to offer the sort of leadership that our world needs more than ever.
“Congratulations to all of you,” Schapiro said. “I salute you. I am proud to recognize your extraordinary accomplishments. And I hope you will stay in close touch with your Northwestern family, especially as we come out from under the cloud of this pandemic.”
During the ceremony, President Schapiro specifically recognized first-generation graduates, the 50th reunion classes (classes of 1970 and 1971) and the 51 faculty members who are retiring after a combined 1,614 years of service.
The ceremony closed with an exquisite performance by the Bienen Contemporary Early Vocal Ensemble of the University Alma Mater.
Also this weekend, more than 800 members of the Class of 2020 returned to campus, along with their guests, for a special in-person ceremony held Saturday at Ryan Field.
Land acknowledgement: ‘What a gift it is to be rooted in this land’
University Chaplain Kristen Glass Perez spoke of the history of the land upon which the Evanston campus sits, the traditional homelands of the people of the Council of Three Fires, the Ojibwe, Potawatomi and Odawa as well as the Menominee, Miami and Ho-Chunk nations. It is the Northwestern community’s responsibility to share knowledge about Native peoples and the University’s history with them, she said.
“As we gather today for Northwestern University Commencement, what a gift it is to be rooted in this land, these peoples, these languages and these values even as we are called to be open to the ways that they challenge and teach us about what it means to be in community,” said Perez, executive director of Religious & Spiritual Life.
“There are times for endings and there are times for beginnings,” she said. “Now is one of those times. On this day of commencement, may we acknowledge and receive deeply the gift of the elders, friends, relatives and ancestors and honor their roles in our journey.”
Shotwell was among four people who received honorary degrees Monday. #MeToo movement founder Tarana J. Burke, renowned medical researcher Dr. Helen H. Hobbs and fellow alumnus George R.R. Martin, the best-selling author and creator of HBO’s “Game of Thrones,” also were recognized as distinguished leaders in the arts, sciences and public service.
Each honoree, presented by a member of the Northwestern community, briefly addressed the Class of 2021 and thanked the University. Provost Kathleen Hagerty delivered the citations, and President Schapiro bestowed each honor.
For the 11th time, the president paid tribute to five high school teachers, including one from Evanston Township High School, who inspired graduating seniors and had a lasting impact on their lives. Each was honored with a Distinguished Secondary School Teacher Award, which recognizes teachers from across the country who were nominated by members of the senior class.
To fellow grads: ‘Our existence, our being, is proof enough that we belong here’
Graduating senior Nolan Fizoires Robinson II, speaking on behalf of the Class of 2021, read a welcome a poem, reminding his fellow graduates of their worth in the world, and then also welcomed parents, faculty and esteemed guests.
“If the past few years have taught me anything, it’s that our existence, our being, is proof enough that we belong here, we are enough, and we are worthy,” Robinson went on to say. “This has been especially important for me, as a Black, low-income, first-generation college student, and all of my peers whose identities are often shut out, ignored, silenced and treated not as part of the whole, but cast out from it. You do not need to prove yourself to anyone, not even to yourself — every day you wake up is another day of purpose, and your breath, your dreams, your goals ... is all the proof you need to know that you are important.”
Communication senior’s film “Grief Night Club” addresses mental health through music, song and dance
By Olivia Alexander
In his jazz musical “Grief Night Club,” Communication senior Nolan Robinson grapples with the challenges Black men face with mental health. The film, which has been Robinson’s passion project for almost two years, in part draws from his own experiences as a student.
“It’s not autobiographical, but it is inspired by struggles and challenges that I faced throughout my time in college,” Robinson said. “Feeling like my feelings aren’t valid or not being able to deal with emotion, not being able to ask people for help.”
In the musical, the protagonist, Jordan, is questioning his identity, mortality and he faces an influx of emotions. When he enters the Grief Night Club, Jordan’s black and white world bursts into color, song and dance. There, he speaks through song, a medium that works when words no longer can, and meets people who encourage him to accept what he is feeling and reach out for help.
Medill junior Megan Lebowitz, who attended the virtual premiere, said the film reinforced her understanding that people in her life were there to support her.
“The artistic choices that (Robinson) made with editing really blew me away,” Lebowitz said. “There were moments when different boxes would pop up on the screen and move around and overlap and change colors, so I thought that the artistic choices, considering it was a musical film, were really wonderful.”
Robinson always knew he wanted the project to be a jazz musical, especially after watching “La La Land.” For Robinson, jazz is intertwined with improvisation and letting go, a theme present within the storyline of the film. Both jazz and rap, music genres that are present in the film, don’t have rules, Robinson said.
Sam Wolsk (Bienen ‘19), the music producer and orchestrator for “Grief Night Club,” said he was able to achieve the classic Big Band jazz sound, even with a downsized orchestra. Wolsk said, who studied jazz at NU, asked each musician to record two different parts and put all the recordings together with Logic, an Apple audio-editing software.
“In a time where musicians’ (plans) are put on hold, it was really great that this was not only able to happen, but able to happen in arguably a bigger and more special way,” Wolsk said.
Wolsk and Robinson met while working on a musical theater performance when Robinson was a freshman. Wolsk said Robinson at the time was “wide-eyed” and friendly, and asked questions in an effort to learn all that he could.
Robinson has plans to assistant-write on Broadway after graduation. He said he wants to continue to combine his dual interests in theater and film and does not want to be confined to Los Angeles or New York City. But before he graduated, he knew he wanted to use art as an opportunity to make a lasting impression on their time at NU.
“I have a lot of talented friends and I wanted to get them in on something amazing before they left, something that they could just always look back on and say, well, we made this piece of art,” Robinson said.
Meet Nolan Robinson
Nolan Robinson grew up in Evanston, attending Willard Elementary, Haven Middle School, ETHS and now Northwestern University. As a lifelong Evanstonian, he has used his ability to connect with others to create meaningful art and positive messaging throughout the community.
“I believe it’s important to bring a sense of hope and light to others. I always try to do what I can to help those around me, no matter how small it may be,” said Nolan.
As a high school student, Nolan was involved in the ETHS community in many ways, including his role as Mr. Wake Up Wildkits, in which he performed the morning greetings and announcements. He also served as an ETHS Ambassador, was a member of the Student Booster Board, and performed in numerous stage productions and with the YAMO dance group.
After being named as an Evanston Scholar, he was able to secure the resources needed to attend Northwestern University, where he is currently pursuing a degree in Theatre with a minor in Political Science.
Nolan’s involvement and achievements have continued throughout his college years. As a freshman, he was named as the 2017 NAACP Award recipient. He is also a part of the Northwestern News Network and Northwestern Waa-Mu Show, has written for the Daily Northwestern, and was named the Most Outstanding First Year Student within the School of Communication, in which he is member of the Dean’s Advisory Council and DEI Task Force. He also produces a podcast, “Of All Trades,'' where he interviews people of different trades, including some prominent Evanstonians.
One of Nolan’s most prized achievements took place this past year when he wrote and produced a short musical, “Grief Night Club,” which follows a young man who is dealing with questions surrounding his mortality. This production had a voiceover by renowned actress Jennifer Grey and was a huge NU community effort.
Outside of school, Nolan served as the keynote speaker at the City’s 2018 MLK Jr. Day celebration, and he moderated a panel for the City’s 2020 MLK Jr. Day celebration.
“I believe community isn’t a static thing, it can choose to live. As soon as it is built and created it lives forever. As soon as you’re ingrained in a community, they will always be there,” said Nolan.
When words no longer work
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Film by musical theater student Nolan Robinson reckons with the unspoken struggles that Black men face
By Stephen J. Lewis
Nolan Robinson, a senior at the School of Communication, earned many stage credits during his time at Northwestern: actor, dancer, singer, entertainer. Now the soft spoken, yet confident theater major is adding one more to his growing resume — filmmaker.
Robinson is the writer, director, producer and choreographer of a new short film titled “Grief Night Club.” It’s a jazz musical that tells the story of a young Black man named Jordan who is dealing with questions about his own mortality, mental health and identity. Robinson said the screenplay isn’t autobiographical but does touch on many taboo topics that he and many other Black men face.
Watch now: Check out a promo video of “Grief Night Club.”
“I wanted to integrate a message in my piece that surrounds the unspoken struggles that are seldom seen as those that Black men face: anxiety, depression and grief,” said Robinson, who also stars in the film. “Jordan is brought along a musical mental journey that teaches him how to love himself, how to gain self-worth. The language of the film is music when speech no longer works.”
Robinson began working on “Grief Night Club” in his second year at Northwestern. The film is preceded by his 2018 web series, “Where’s Noah,” about a Black student navigating the challenges of attending a majority-white university.
Robinson said both endeavors are the fruit of conversations he had while attending the School of Communication’s “A Starry Night Gala” in 2018. That event during CommFest brought together the school’s prominent alumni, faculty artists and student actors for a one-night concert and performance.
“I was walking around and talking to the talent and the question I asked all of them was, ‘What is something that I as a growing student should do right now?’ They all said make your own work. As a freshman, I wouldn’t have imagined I would be making a musical. But it was a lightbulb that said you need to create things, make your own art and don’t wait for anyone to tell you that you should or should not make it.”
Producing a film presents many challenges, even for the most experienced filmmaker. Robinson faced those and one additional and unanticipated obstacle — COVID-19. The global pandemic brought all productions to a halt, triggered quarantines and health restrictions just as he assembled the film’s cast and crew early last year.
“When we started rehearsing and filming during the pandemic, I questioned what am I doing it for. What am I asking these actors to do? Sometimes it felt selfish. Once I really looked at what the story was, I wanted to finish it even more. The theme of the movie is loving yourself and not being afraid to ask for help. I think the message is even more powerful and timelier [during the pandemic] because you have the right to feel everything that you’re feeling. We just happen to be in one of those times [in history] where it feels like there is no hope. This film acknowledges that, but also tells the story you are loved, and we will get through this.”
“Grief Night Club” features a 25-person ensemble cast and combines the talents of current and former students from the School of Communication and Bienen School of Music. Actress Jennifer Grey also lends her voice as a therapist in the beginning of the film.
Robinson said the process of writing and producing the film was therapeutic. He’s also grateful for the advice he received at the beginning of his journey at Northwestern. He feels others could benefit from it, too.
“Don’t wait for anyone else to give you permission if you have a story you want to share,” Robinson said. “You are that boss. You don’t have to wait for someone to say ‘yes’ because your spirit already told you ‘yes’. Now just go for it!”
Following the initial virtual screening Feb. 12-15, Robinson plans to submit the film in the student competition of the Cannes International Film Festival and other film festivals throughout the year.
Evanston Resident Nolan Robinson on what it's like to be Black in the World of Ballet
By Trinity Collins
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“Recently, I’ve been able to meditate and reflect on my life. Whenever I get in a difficult situation, I feel like I’m doing everything but nothing is going right, I try to find the source of that feeling.
"It wasn’t long ago when I realized that there was a part of me that needed -- or felt the need -- to prove that I belong; that I deserve the blessings that I have, and that nothing was just given to me.
I think a lot of this comes from being in an art that doesn’t have very many Black people; I don’t often see Black people like me in auditions, in classes, in rehearsals. In this very turbulent political age, I can’t help but think ‘how many people think I’m here because I’m a token? How many people think that ‘someone else, someone whiter, could’ve had this spot?’
"Then I overwork myself, doing everything as well as I can, better even, to prove that this spot belongs to me … I don’t have many Black role models to look up to in this art. I’m sure you’ve heard the phrase ‘representation matters’ because it does. I’d be more confident in my place in ballet if I could see the others like more who had a place before me. The table would be more inviting if I had already saw myself at it.
"With that, this is a very expensive life; dance classes, ballet shoes, movement clothes. As a black man from a low-income household, with three siblings and a dog, ballet was something I never imagined myself doing. But look at God. I will say that I hope to be a dancer that a little black boy right now wants to look up to. I want to be for him what I wanted growing up.”
Nolan Robinson, 20, has been dancing for the past four years. He graduated from Evanston Township High School (ETHS) in 2017 and now attends Northwestern University, majoring in Theatre and Computer Science. Robinson is the creator of the original web series, "Where's Noah?" and an avid performer in Department productions.
Broadway veteran to direct and choreograph Wirtz’s “A Chorus Line”
By Crystal Wall
When Communication sophomore Nolan Robinson was a part of the National High School Institute, also called the Cherub program, his dance teacher told him one day he could hope to play the role of Richie in “A Chorus Line.” Flash forward to his birthday this past May, Robinson saw his name on the cast list, playing none other than the role of Richie.
Robinson is just one of the several students featured in the Virginia Wadsworth Wirtz Center for the Performing Art’s production of “A Chorus Line.” The iconic musical will open this Friday, November 9, and will run for three weekends in the Ethel M. Barber Theater. It features Broadway veteran Kurt Domoney, a cast member of the show’s recent Broadway revival, as the director and choreographer.
The cast has prepared for the show’s opening for over a month now, rehearsing Monday through Saturday for hours each day.
Robinson said because the show is so ensemble-driven, all cast members had to be at almost every rehearsal. While it was a large time commitment, he said these daily rehearsals kept everyone on the same page, which is important for the ambitious material featured in the show. While there was a steep learning curve, Robinson said he is now at his vocal peak.
“I realized that the song (“Gimme the Ball”) was inspired by Aretha Franklin—that’s why it goes so high,” Robinson said. “I had to work my butt off over the summer to make sure that I was able to sing Aretha Franklin notes, and it paid off.”
While Robinson is vocally thriving, Communication senior Chloé Nadon-Enriquez said she hasn’t been this fit since she was 15 years old. Trained as a classical ballerina into her teens, Nadon-Enriquez is no novice to choreography. Even so, she said this show is full of physically demanding, cardio-intensive dance numbers that she had to train to get through.
Nadon-Enriquez is performing in the role of Diana Morales, a character well-engraved in the musical theater canon with Broadway stars such as Natalie Cortez making the role famous. Nadon-Enriquez said she was terrified to take on the role at first, as she was afraid she wouldn’t be able do the part justice.
“I’m obsessed with Natalie Cortez,” Nadon-Enriquez said. “Her first musical was ‘Cats’ when she was four, as was mine when I was four. I want to light up the stage the way she does.”
To discover her own unique version of Diana, Nadon-Enriquez and Domoney worked on finding her own interpretation of the music and text.
As a cast member of the Broadway revival, Domoney is familiar with Nadon-Enriquez’s material as well as the show as the whole, and said he is excited to work on it in an academic setting. In this production, he chose to lean into the show’s setting of the ‘70s through its costumes and orchestrations, while embracing the fantasy elements of the show through the lighting and set design.
Domoney said he hopes the audience will ask why the show is relevant now, as the show, he said, is a call to action. The arc of the ensemble of dancers, once referred to as chorus boys and girls, give a voice to the voiceless, he said.
“It’s about truly what it means to be on a line and cross lines of comfortability in our work, to really put yourself out there for something you love,” Domoney said. “There is an element that all we have is borrowed time to do these things we are passionate about.”