A No-Holds-Barred Production

Her Honor, Jane Byrne – Lookingglass Theatre

November is truly a time for giving thanks. Lookingglass Theatre has reopened again and with a bang. Their sensational remounted production, which had originally opened just before the pandemic shut shut down every Chicago theatre, features many of the original cast, setting and technical support as in 2020. “Her Honor, Jane Byrne” is skillfully written and perfectly directed by Lookingglass Ensemble Member, J. Nicole Brooks, but it’s definitely not your typical holiday fare. This is a rough, unflinching look at the strong determination and myriad of controversies attributed to one of Chicago’s greatest heroes. 

Ms. Brooks’ play is a great reminder of the important part Jane Byrne played in this city’s history. The production is passionate and gripping, with its multiple urban characters all revolving around, and returning to, Mayor Byrne. This chapter in Chicago’s history is told in a series of fragmented, chronological scenes, staged all over a sprawling, two-level, environmental scenic design by Yu Shibagaki. The production is mightily enhanced by Rasean Davonte Johnson’s incredibly frenetic projections, along with Christine A. Binder’s atmospheric lighting and Christopher M. LaPorte’s palette of sound, that utilizes both recorded hits from the 80’s and Michael Huey’s original musical compositions.

Jane Byrne, the 50th Mayor of Chicago, left behind a large, impressive legacy of accomplishments. Despite her mayoral predecessor, Michael Bilandic, proclaiming in a memorandum that she was “a shrill, charging, vindictive person,” Jane Byrne won the Democratic bid to become the first female to hold that office. The Chicago Blizzard of 1979 that paralyzed the city only fueled the fire that Bilandic was an ineffective leader and helped elect Byrne. Labeling herself as a reformer, Jane Byrne became Mayor with 82% of the vote, the largest margin in Chicago history.

Byrne’s accomplishments for the Windy City were many. She hired Ruth Love, the first female and African-American Superintendent of Schools; she effectively banned unregistered handgun possession; formally recognized the city’s LGBTQ community; dealt with massive labor union strikes by transit workers, CPS teachers and  firefighters; welcomed Pope John Paul II’s papal visit to Chicago; revitalized Navy Pier and made the downtown Theatre District what it is today.

But one of Jane Byrne’s most unorthodox and controversial decisions during her term as mayor was her reaction to the 37 shootings and 11 murders that occurred during a three-month time span at one of Chicago’s housing projects. The Cabrini-Green Homes were just one of several low income accommodations in the city, but it soon became the National face of all the problems rampant in public housing. So in early 1981, the Mayor made the shocking decision to move into the crumbling, crime-ridden dwelling, where she and her husband resided for three, eye-opening weeks. 

During that time the Mayor shut down the neighboring businesses that had become hangouts for criminals. Mayor Byrne also ordered the Chicago Housing Authority to evict any tenants who were suspected of harboring criminals and gang members. Then the CPD raided the building and arrested 11 gang members who were planning a shootout near Byrne’s apartment. While the Mayor only lived at Cabrini Green for a short time, leaving after an Easter Festival celebration that turned violent, she managed to bring national attention to the infrastructure, poverty and criminal problems in public housing.

The play is perfectly cast. It’s filled with powerful, passionate performances, many from the Lookingglass Theatre original production, with everyone except the leading actress playing multiple roles. Ensemble member Christine Mary Dunford, remembered for her captivating performances in “Blood Wedding,” “Trust” and “Our Town,” brings strength, humanity, the Mayor’s signature finger-snapping and a touch of sexiness to Jane Byrne. Ms. Dunford’s expressive face that’s an open book, illuminating everything that the late Mayor is thinking and feeling, regardless of the words emanating from her lips. And, authentically costumed and coiffed by the gifted Mieka Van der Ploeg, theatergoers familiar with Jane Byrne’s signature look will think the late Mayor has been resurrected for this production.

Three actors setting foot upon the Lookingglass stage for the first time leave their mark with astounding performances. Robert Cornelius, as Black Che, may be remembered for his performance in the Goodman Theatre’s “Lottery Day,” among his many other fine performances. His character’s convincing entrepreneurial skills give this persuasive urban gentleman a humorous touch. Renee Lockett is a force of nature as Mabel Foley, a woman that most theatergoers will wish was their neighbor. She’s a caring Christian and a concerned grandmother whose enthusiasm and strength can’t be contained. And Sydney Charles, making her Lookingglass debut, burns up the stage as Marion Stamps, the activist mother who refuses to accept what’s going down. She makes this character, and everyone she plays, as real as anyone you’ll ever meet. Together these three actors command this production.

They’re supported by Nicole Michelle Haskins, who plays teenage Cabrini Green resident, Tiger. Her elevator monologue is rich and raw, as is her humorous coffee talk with the Mayor in Act II. Portraying smarmy Alderman Roti, and other characters, the always wonderful, versatile Raymond Fox comes through loud and clear. Emily Anderson, another terrific ensemble member, is warm and winning as a young female reporter, trying to get a handle on the real Cabrini Green residents. Frank Nall, who plays a number of varied roles so well, is charming as Byrne’s husband, Jay McMullen. Josh Odor, a familiar face at TimeLine, the Goodman and Steppenwolf Theatres, is stone-faced and strong as Superintendent Brzczek; but he’s also sexy and alluring as Byrne’s first husband, Marine William P. Byrne. And Willie “Prince Roc” Round rips out the audience’s heart as The Kid. Wheeling around on his bicycle, the actor brings defiance and youthful energy to this tragic young man.

Although the theatergoers are only treated to three weeks in the life of Jane Byrne, audiences will leave with an empathy for, and an understanding of, what made this powerhouse politician tick. The Mayor’s decision to take up residence in one of Chicago’s most-feared and tragically rundown housing projects was certainly controversial. It was a choice motivated out of frustration, but Mayor Byrne was determined to somehow make a difference. It can be argued, based upon J. Nicole Brooks’ exquisite new play, that Byrne gave it her all and, perhaps, changed the attitudes of a few Cabrini Green residents.

However, in spite of seeming to throw in the towel, Jane Byrne learned a great deal about her city, its people and, particularly, herself. This is a gruff, gritty, no-holds-barred production that’s a must-see, especially for every Chicago resident. It will forever change how you think about the “City of Broad Shoulders.” 

Highly Recommended

Reviewed by Colin Douglas

Presented November 11-December 19 by Lookingglass Theatre, at the Water Tower Pumping Station, 821 N. Michigan Ave., Chicago.

Tickets are available in person at the box office, by calling 312-337-0665 or by going to www.lookingglasstheatre.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.