A Show That Makes You Think and Feel

Paradise Square – Broadway in Chicago

Chicago has long been the perfect city to try out Broadway bound productions, and this new, historical musical is the latest to test the waters. “Paradise Square” is named for an actual 19th century saloon in Five Points, the former slum area of New York City, where this sweeping musical is set. The is a big show, filled with a large cast of extraordinarily talented triple-threats. It boasts some of the finest acting, phenomenal singing and most unbelievable dancers of in any show in recent memory. It’s a massive musical that’s ripe for its Broadway debut. The musical just needs a few tweaks and minor adjustments to tighten up the story and make it perfect.

Set during the early years of the Civil War, Five Points was once a culturally diverse neighborhood of Irish immigrants and freed African-Americans. It was an area was known for its racial harmony amidst all the filth and poverty. Bold and brassy Nelly O’Brien is the black owner of the one place where everyone can escape their troubles amidst the drinks, music and dancing at the Paradise Square Saloon. She’s lovingly married to Willy O’Brien, an Irish immigrant and officer in the War. Nelly manages the bar together with Annie Lewis, her pregnant Irish sister-in-law, who’s married to black Presbyterian minister Samuel Jacob Lewis.

As the musical opens with the raucous and jubilant title song, Annie welcomes her nephew Owen Duignan to America, who’s hired to entertain saloon patrons with his dancing. Around the same time, Reverend Lewis brings a runaway slave to Paradise Square, who he christens Washington Henry. Lewis encourages Nelly to house the young man and hire him as another entertainer. Then Nelly is charmed by an affable, eager young pianist named Milton Moore. He’s also looking for work in the Five Points saloon, and so Nelly hires him, as well. And then the plot thickens.

The story turns darker in Act II. We discover that the Paradise Square pianist is actually famed composer Stephen Foster, whose music plays an important part in the score of this musical. The Civil War continues to rage on, bringing with it death, destruction and heartache. There’s an arrest warrant and a bounty out on young Washington Henry, who’s trying to locate his wife and escape to freedom. Then, the conscription of all Irish, Italian and German immigrants to become Union soldiers threatens young Owen Duignan. Unless he’s able to buy his way out of the military, with an exorbitant amount of cash, he will find himself another casualty of the War. The result is the infamous Draft Riots, in which many of the innocent people of Five Points were needlessly murdered and much of the area, including the Paradise Square Saloon, was burned to the ground.

“Paradise Square” is a magnificent show. It’s stuffed with a great deal of historical information, as well as some soul-searching  examinations of racial, class and gender equality. Immigration issues feature heavily in the musical’s storyline, along with how America has sadly neglected its sick, downtrodden and the veterans of war.

But on the positive side, this show is most often a triumphant celebration of life. It’s chocked full of memorable characters, great music and extraordinary dancing. And it’s directed the inimitable Moises Kaufman, so it has to be great. The book may suffer from too many ideas and plot lines, courtesy of its four authors (Christina Anderson, Marcus Gardley, Craig Lucas & Larry Kirwan), but that’s an easy fix. A song or two could easily be cut from the delightfully rollicking  score, written by Jason Howland, with stirring lyrics by Nathan Tysen and Masi Asare. But the brilliant choreographer, Bill T. Jones, a two-time Tony Award-winner for Broadway’s “Spring Awakening” and “Fela,” has outdone himself. Dancing is the electric thread that pulsates throughout this production and drives it home. Jones’ gravity-defying choreography is a combination of furiously executed Irish step dancing and jigs, athletic African Juba and rhythmical  tap, which is said to have originated at this time in Five Points.

 This show soars with songs like “Paradise Square,” “I’m Coming,” “Why Should I Die In Springtime,” “Welcome Home,” “Ring, Ring the Banjo” and “Breathe Easy.” But “Let It Burn,” sung by Nelly O’Brien, is easily the best and most moving number in the score. A Tony nominee for “Slave Play,” the incomparable Joaquina Kalukango filled the Nederlander Theatre with her opulent vocal performance, and prompted a spontaneous standing ovation that stopped the show. For those familiar with the musical “Dreamgirls,” Ms Kalukango’s performance is as honest and heartrending as Effie’s Act I finale, “And I Am Telling You I’m Not Going.”

The cast is a truly gifted and accomplished ensemble of multi-talented individuals. They must all be commended for their hard work and thorough dedication to this piece, which had its world premiere at Berkeley Rep. In addition to the magnificent Joaquina Kalukango, as Nelly, the cast is filled with a multitude of superb performances. Chilina Kennedy is heartbreaking and humorous as Annie Lewis; Nathaniel Stampley, a Jeff Award-winner for “Man of La Mancha” at the Marriott Theatre, is terrific as Reverend Lewis; Sidney DuPont is alternately joyous and soulful as Washington Henry; the marvelous A.J. Shively, remembered for his performance in Broadway’s “Bright Star,” is a force of nature as Owen Duignan. Last seen at the Goodman in “War Paint,” John Dossett is appropriately smarmy as Frederic Tiggens. Handsome, likeable Jacob Fishel is wonderfully earnest as Milton Moore. Matt Bogart, a Broadway veteran of so many terrific musicals, is excellent as Willie O’Brien. Kevin Dennis plays tortured military veteran “Lucky” Mike Quinlan with passion. And lovely Gabrielle McClinton is simply breathtaking as Angelina Baker.

This is a musical for audiences who enjoy great music and majestic choreography, but who also prefer a show that makes them think and feel. With a bit of trimming this extraordinary piece could easily stand beside such moving musical classics as “Les Miserables” and “Spring Awakening,” and historical pieces, such as “Hamilton” and “Ragtime.” This is a wonderful piece of theatre that’s well worth seeing in its pre-Broadway debut.            

Highly Recommended

Reviewed by Colin Douglas

Presented November 2-December 5 by Broadway in Chicago at the Nederlander Theatre, 24 W. Randolph St., Chicago.

Tickets are available at all Broadway in Chicago box offices, the BIC Ticket Line at 800-775-2000 or online at www.BroadwayInChicago.com.

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