In its 44th season, Music Theater Works and director/choreographer Christopher Pazdernik set their sights on a beloved musical, one that Pazdernik himself saw during its original Broadway and Chicago runs two decades ago. This new production of The 25th Annual Putnam County Spelling Bee embraces both nostalgia and modernity in its timeless costuming and timely ad-libs. And whether you’ve loved these contestants and their quirky spelling tricks for decades or this is your first time encountering a “magic foot,” this production will warm your heart and tickle your brain.
With music and lyrics by William Finn and a book by Rachel Sheinkin—which won Best Book at both the Tony and the Drama Desk Awards—the production lends itself to the spirit of the times, so it’s perfectly adaptable for whoever wishes to make it their own. The script finds a balance between heartwarming and angsty content, so every production of “The Bee” is tasked with bringing universal adolescent woes to life.
Music Theater Works’ production invites audience members on a punny and prop-filled joyride. As a gaggle of junior high-level spellers take their seats on the bleachers of Putnam’s school gym—a realistic set (design by Ben Lipinski) complete with a basketball hoop and court, championship banners, fire alarms, functional double doors, and an exit sign—the script invites four audience volunteers to the stage, adding an exciting new set of variables to each performance. We become acquainted with our consistent cast of characters: Miss Rona Lisa Peretti (played by vocal powerhouse Neala Barron), the winner of the 3rd annual Putnam Bee who is thrilled to facilitate the triumphs and defeats of this year’s competition; court-ordered contestant comforter Mitch Mahoney (Michael Davis Arnold, whose goosebump-inducing vocal runs are also a production highlight); and Vice Principal Douglas Panch (Zach Kunde), who is sweet on Rona but tough on the contestants.
And they are: Chip Tolentino (Brandon Acosta), Marcy Park (Mai Hartwhich), Logainne “Schwarzy” Schwartzandgrubeniere (Jamie Dillon Grossman), Olive Ostrosky (Rachel Guth), William Barfée (Will Koski), and Leaf Coneybear (Joe Lewis). As the musical reveals each speller’s motivations, fears, and internalized family dynamics, the cast easily steps into role-play scenarios as they arise. Whether it’s Schwarzy’s super-invested gay dads (with a transformed Lewis telling his distraught daughter to “Buck up!”), Olive’s absentee parents (a dreamy musical pairing of Barron and Davis Arnold), or the ensemble playing Coneybear’s overcrowded household, the versatile actors shapeshift seamlessly in and out of their designated roles.
This cast’s vocal talents are apparent from the first rousing number, thanks to the production’s crystal clear sound design by Forrest Gregor and its music director Michael McBride. And, despite the singers’ Broadway-worthy pipes, Pazdernik’s spritely choreography ensures few “park and bark” moments. Each song includes dynamic cast participation and prop work that will hold even the youngest audience member’s attention. The super playful production features hula hoops, a colorful parachute, notecards flying through the air, and a character live-cutting paper chains. All the while, the actors show off their deft physicality, and each character’s quirks shine through their every move. There’s so much enthusiasm emanating from the cast that it’s clear they’re truly having fun with the material—perhaps they have personal connections to the long-loved show like their director. (Costumes are by Kristen Brinati; hair, wig and makeup design by Melanie Saso; props by Ab Rieve.)
This production’s modern updates and ad-libs may feel timely or tiring, depending on your levels of cultural interaction and investment. Though a “TikTok famous” volunteer contestant or a rant about “Barbenheimer” may take you out of the material momentarily, this production also loves its puns, and many of the script’s ad-lib moments include a solid if not predictable joke setup that will get your mind engaged. By nature of the musical’s subject matter, you’ll find yourself wanting to jot down words, spellings, and obscure or multiple meanings. You may find yourself “falling” for the clumsy Coneybear dressed in tie-dye and a home-crocheted cape, or your heart racing as the Bee picks up momentum in musical chairs-speed rounds.
The musical asks audience members to reflect on pubescent pressures including, but not limited to: picking a path for your future, finding your own definition of success, and fulfilling expected roles in your family structure or gender identity. We hear Miss Rona reflect, “It’s a hard age for girls,” which she amends to include boys, as she introduces relevant questions: Who is allowed to express confidence that they will win the Bee? Who is expected to downplay their spelling talents for the sake of modesty? Colorful lighting cues sync up with the tweens’ emotional tiltawhirl, the threat of allergic reactions, and moments of existential depth as they grapple with the weight of a community’s expectations on their narrow shoulders. This musical is silly, messy, and sentimental, just like adolescence. Music Works’ production leans into the script’s heart as well as its junior high-level body humor (taken to new heights during the show’s “Adults Only” performances on March 23 and 30).
Our recommendation: play along with the spellers, but don’t annoy your neighbor with a magic foot, even if this high-energy cast makes you want to dance along. The running time is 100 minutes and it flies by. If you attend on March 17, you might stick around for the post-show discussion with theater historian Tom Shea.
The show runs through March 31 at the North Shore Center for the Performing Arts in Skokie. Get your tickets here.
For more information on this and other plays, see theatreinchicago.com.
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