It’s 1922 and the young women of Chicago’s Radium Dial Company are living a dream – earning good wages and beaming with new-found independence. After years of hand painting watch dials, the so-called “harmless” radium leads to devastating results. Four courageous women upend their lives with a determination to change the future in this compelling new musical, the transcendent tale of heroic lives that glowed with promise.
Production photos by Michael Brosilow.
Glowing music commemorates Ottawa’s ‘Radium Girls’
May 17, 2015
By CHRIS JONES
Shining Lives is a new Chicago musical well worth seeing; it has some beautiful scenes and a clutch of excellent musical performances. In one of the most interesting and haunting motifs, Thebus and her collaborators pick up on the cruel irony that the women were creating timepieces even as they shortened their own time on this planet with every lick of paint. Of course, we’re all running out of time every day. Better, perhaps, to seek a glow. Not involving radium.
Northlight’s Shining Lives a luminescent new chamber musical
May 17, 2015
By HEDY WEISS
Shining Lives: A Musical, the fervent yet poetic chamber work now receiving an aptly radiant world premiere at Northlight Theatre, is, above all, a story of courage and determination in the face of profound betrayal.
It is a true story – about a group of women who fall in love with their jobs, and the freedom those jobs provide – and about what happens when those women gradually come to realize that the very thing they have loved was, in fact, killing them.
Workplace issues have been a crucial part of the theater for decades, from the cabdrivers in Clifford Odets’ Waiting for Lefty to the newspaper boys in Newsies and the coal miners in Billy Elliot. But in Shining Lives, based on a play by Melanie Marnich – with a book, lyrics and direction by Jessica Thebus, and music by Andre Pluess and Amanda Dehnert – working women are the focus. And the tone and temper of their story is notably different and ideally captured in this lovely, economical chamber musical.
Northlight’s Shining Lives a triumph of music and storytelling
May 18, 2015
By CATEY SULLIVAN
Northlight Theatre’s shattering and enthralling world premiere of Shining Lives: A Musical should come with a trigger warning. It’s a true story where rich men get away with mass murder and poor women are disposable trash. If you feel like stabbing somebody in the eye after the 90 minute piece, it’s understandable. That said, it would be a grave error to take only rage away from the new musical by Jessica Thebus (book and lyrics), Amanda Dehnert (score) and Andre Pluess (score.)
There is an enduring, inspiring beauty to Thebus’ (who also directs) and Dehnert and Pluess’ musical adaptation of These Shining Lives, playwright Melanie Marnich’s drama delving the tragedy of the Radium Dial Company, an Ottawa-based company whose owners knew it was far cheaper to replace dead workers than practice safety in the work place. Through the 1920s and the ’30s, dozens of female factory workers died painful, gruesome deaths from radium poisoning after ingesting the poison while painting glow-in-the-dark numbers on watches and clocks.
Despite its harrowing material, Shining Lives is instilled with a triumphant beauty. It shines through in the friendships among the women of the Radium Dial Company, the giddy independence they briefly found before chronic bleeding and debilitating pain destroys them and in the steely strength they show in facing death and injustice head-on
Northlight’s Shining Lives a moving tribute to courageous women
May 21, 2015
By BARBARA VITELLO
“Work that pays you well, costs something,” warns a character in Shining Lives: A Musical.
For some young women working at the Radium Dial Company in Ottawa, Illinois, during the 1920s and 1930s, the price was their lives.
The elegiac Shining Lives: A Musical is their memorial, evoked in part by the poppies present in the opening number. It’s a testament not just to the women’s suffering, but to their courage and determination to hold accountable the company officials who deceived and disparaged them.
What a moving testament it is.
Shining Lives at Northlight Theatre: Theater review
This lovely chamber musical about an ugly chapter in Illinois labor history shines by focusing on radiant friendships.
May 26, 2015
By KRIS VIRE
The beauty of Marnich’s play [These Shining Lives], and of its gorgeous new chamber-musical adaptation at Northlight (which commissioned the original play), is that it spends more time on the four women chosen to represent the whole than it does on legal proceedings. Catherine Donohue (Johanna McKenzie Miller), the eventual plaintiff, loves her work, both for the senses of accomplishment and independence it gives her and for the rich friendships she develops with the other girls at her table (each sharply outlined and beautifully sung by Jess Goodwin, Tiffany Topol and Bri Sudia).
Pluess and Dehnert’s absorbing acoustic score is played to the side of the mostly bare stage by pianist Chuck Larkin and the show’s male cast members, Alex Goodrich, Erik Hellman and Matt Mueller, who alternate between their onstage scenes and accompanying on guitar, banjo and mandolin. The songs take advantage of the four leads’ rich vocals to give voice to the women’s dreams of autonomy; even the courtroom sequence is more about the quartet’s supporting, and eventually succumbing to, the fight. It’s a small but, indeed, radiant story.
Jess likes to make things. She wants the things that she makes to mean something. She was previously seen on stage with Northlight as Susan in Snapshots. In addition to Shining Lives, she is proud to be working on the development of Exposure this summer. To find out more about her 12-part music video dedication series, check out godwinanthology.com.
Alex is happy to be back at Northlight where previous credits include Shining Lives, Civil War Christmas and She Stoops to Conquer. Other Chicago credits: Hero: The Musical (Jeff Award, Best Supporting Actor – Musical), ELF the musical; On The Town; I Love You, You’re Perfect, Now Change; For The Boys; How Can You Run … (Marriott); Old Jews Telling Jokes (Royal George); The Comedy of Errors, One Man Two Guvnors (Court); Everything Is Illuminated (Next); A Midsummer Night’s Dream (Indiana Repertory); The Emperor’s New Clothes, Taming of the Shrew, Aladdin (Chicago Shakespeare); Goodnight Moon, and Harold and the Purple Crayon (Chicago Children’s Theater). He loves his wife and two kids very much.
Dr. Rowntree/Dr. Dalitsch/Ensemble
Erik is happy to be returning to Northlight after The Commons of Pensacola and Lost in Yonkers. Select Chicago credits: Luna Gale (Goodman and Center Theatre Group, LA); The Good Book, Tartuffe, The Misanthrope, Proof (Jeff Nomination – Supporting Actor), The Comedy of Errors, The Mystery of Irma Vep (Jeff Nomination – Lead Actor), Titus Andronicus and Arcadia (Court); Eastland (Lookingglass); Hesperia (Writers); The Madness of King George III, The Taming of the Shrew, Macbeth and Edward II (Chicago Shakespeare); Honest, The Elephant Man and Huck Finn (Steppenwolf). He is a company member of Strawdog. Select regional credits: Kirk Douglas Theatre, Milwaukee Repertory. Film/TV: The Dark Knight, The Chicago Code, Boss, Betrayal, Chicago Fire and Chicago PD.
Johanna McKenzie Miller
Johanna is making her Northlight debut with this beautiful show. Other Chicago credits include Claire in On The Town, Mary Poppins, Cats, I Love You, You’re Perfect, Now Changeand Marian Paroo in The Music Man (Marriott); Elizabeth in Young Frankenstein (Drury Lane); Dyanne inMillion Dollar Quartet (Apollo); and work at Chicago Shakespeare, Goodman, Ravinia and Court. Johanna is the co-founder of Lombard Children’s Theater Workshop and a member of Actors Equity Association.
Mr. Reed/Leonard Grossman/Ensemble
Matt is delighted to make his Northlight debut. He recently released a new cast recording of Woody Guthrie’s American Song at the Freight & Salvage in Berkeley, California. Regional credits include productions at Chicago Shakespeare, Capital Repertory, Asolo Repertory, Utah Shakespeare Festival, Theatreworks (Colorado Springs), Marin Theatre Company, Palm Beach Dramaworks, Colorado Shakespeare Festival, Arvada Center, Boulder Ensemble Theatre Company and Denver Center for the Performing Arts.
Bri is thrilled to return to Northlight after playing Charlotte in Shining Lives. Other Chicago credits include Ruth in Wonderful Town (Goodman); Road Show, Pericles, Shakespeare’s Greatest Hits, The Tempest u/s and Tug of War: Foreign Fire u/s (Chicago Shakespeare); Far From Heaven (Porchlight) and regionally at the Milwaukee Rep, Utah, Arkansas and Texas Shakespeare Festivals. Bri received her MFA in Acting from The University of Illinois Urbana-Champaign and holds a degree in Sign Language Interpreting.
Tiffany makes her Northlight debut. Select credits: Once the Musical (1st National Tour), Xanadu (1st National Tour), Sweet Charity (Writers), Eastland (world premiere, Lookingglass), Cabaret (Milwaukee Repertory). When in Chicago, Tiffany often performs with The Back Room Shakespeare Project. She is a singer/songwriter/ukulele player in several projects, including her band Glad Fanny (gladfanny.com) and gypsy-folk outfit Youth in a Roman Field (youthinaromanfield.com).
Director/Book & Lyrics
Jessica is a director of theater and an educator based in Chicago. Past Northlight credits include Shining Lives, Dr. Jekyll and Mr. Hyde, Inherit the Wind and Red Herring. At Steppenwolf, she has directed Sex with Strangers, Intimate Apparel, Dead Man’s Cell Phone, No Place Like Home, When the Messenger is Hot (also at 59 E 59th in NYC) and Sonia Flew. Other favorite projects: Richard III (The Gift), In the Garden by Sarah Gmitter (Lookingglass); Buzzer by Tracy Scott Wilson (Goodman); Welcome Home Jenny Sutter (Next); As You Like It (Oregon Shakespeare); The Feast: an intimate Tempest (Chicago Shakespeare with Redmoon). She is Director of the Graduate Directing Program at Northwestern University.
Andre has designed the Broadway productions of Metamorphoses, I Am My Own Wife and 33 Variations (Drama Desk Award nomination) as well as the world premiere of The Clean House at Yale Repertory and Lincoln Center. Based in Chicago, his work has appeared on most of the city’s stages including Northlight (Shining Lives with Amanda Dehnert), Goodman, Steppenwolf, Court and Lookingglass, where he is an associate artist. He has composed music and designed sound for theaters around the U.S., most frequently at the Oregon and California Shakespeare Festivals, Berkeley Repertory, Arena Stage, American Conservatory Theater, Seattle Repertory, La Jolla Playhouse and Center Theater Group. Choral works include: Winesburg, Ohio,Eastland, Whitman and Undone (with Ben Sussman) and Paris By Night (with Amy Warren).
Recent productions include: Into the Woods and My Fair Lady (Oregon Shakespeare),Eastland: A New Musical (Lookingglass, world premiere, direction and orchestration), Richard III (Public Theatre Mobile Shakespeare Unit, director/composer), Julius Caesar (Oregon Shakespeare, director and adaptor), The Verona Project (California Shakespeare, world premiere, words and music), Peter Pan (A Play) (Lookingglass, author), Death of a Salesman (Dallas Theatre Center, director and composer), Romeo and Juliet and A Midsummer Night’s Dream (Chicago Shakespeare, director, adaptor and composer). She is an Associate Professor of Theatre at Northwestern University.
Chuck is thrilled to return to Northlight after A Civil War Christmas and At Wit’s End. Chuck served as associate conductor for Jersey Boys from May 2007 to January 2010 (Chicago) and for the National Tour from November 2011 to March 2014. He served as musical director for the 2014 Fall season and the 2010 and 2011 Summer seasons of American Folklore Theatre in Door County, Wisconsin, and toured extensively with Franc D’Ambrosio’s Broadway and cabaret artist Lee Lessack. Other local credits include hundreds of cabaret and club performances and, as a composer and lyricist, Chuck’s credits include Hen Lake and Sophie’s Masterpiece (Lifeline) and the award-winning River’s End with playwright/lyricist Cheryl Coons (Marin Theatre Company, O’Neill Conference, NAMT, NYMF and ASCAP Workshop).
Off-Broadway credits: Ride the Cyclone (MCC), Othello: The Remix (The Westside Theater). International credits: Shakespeare’s Globe, Unicorn Theater (London) The Market Theater (South Africa), The Neuss (Germany), Gdansk Shakespeare Theater (Poland), The Cultch (Vancouver), DUCTAC Theater (Dubai), Brice Mason Center (New Zealand), and The Edinburgh Festival (Scotland). Regional credits: Chicago Shakespeare, Steppenwolf, Court, Writers, Milwaukee Repertory Theater, Asolo Repertory Theater, Signature Theater, Walnut Street Theater, Children’s Theater Company, Utah Shakespeare, Getty Villa Outdoor Theater, Delaware Theatre Company, Paramount, Victory Gardens, Drury Lane, Northlight, American Theater Company, Marriott, Griffin Theater, Windy City Playhouse, Steep Theater, Clarice Smith Performing Arts Center, Dallas Theatre Center, and Mercury Theater. Mr. Davis is a co-founder of the Chicago based design firm Aether and Nyx and serves as adjunct faculty at Columbia College having received his MFA from Northwestern University. www.scottadamdavis.com
Northlight productions include Away directed by David Petracha, and How I Learned to Drivedirected by Susan V. Booth. Recent productions include The Good Book, Orlando, Arcadia, The Romance Cycle, James Joyce’s “The Dead,” The Little Foxes, Hay Fever, An Ideal Husband (Joseph Jefferson Award – Court); Into the Woods, King Lear, As You Like It,Julius Caesar, All’s Well That Ends Well (Oregon Shakespeare); The Motherf**ker with the Hat, Dead Man’s Cell Phone, Intimate Apparel, I Never Sang for My Father (Steppenwolf); Stage Kiss, The Clean House (Goodman); The Public, Los Angles Performing Arts Center, Cincinnati Playhouse in the Park, The Alliance, Repertory Theatre of St. Louis, Actors Theatre of Louisville, Chicago Shakespeare, Utah Shakespeare, Connecticut Repertory, Arden Theatre Company, Maltz Jupiter Theatre, Drury Lane and American Players. Linda is the director of the MFA Design Program at Northwestern University.
Northlight credits include By the Water, Charm, Shining Lives, Outside Mullingar, White Guy on the Bus, Detroit ’67, The Odd Couple, Ten Chimneys, Season’s Greetings, A Life, Grey Gardens, The Retreat From Moscow, Lady, Stella & Lou, The Outgoing Tide, Better Late and Chapatti (the last four also at the Galway International Arts Festival, Ireland). Other work has been seen at Lookingglass, Victory Gardens, About Face, Remy Bumppo, Writers, Steppenwolf and Walkabout. JR designed lighting for seven years of the Steppenwolf TRAFFIC Series, and five Steppenwolf performances in Chicago’s Millennium Park. He has served as head of the Lighting Department at Steppenwolf since 1995.
Previous Northlight credits include Shining Lives: A Musical, Gee’s Bend, At Wit’s End, The Last Five Years. Off Broadway credits include Lookingglass Alice at The New Victory Theatre. Regional theatres include Goodman, Steppenwolf, McCarter, Long Wharf, Milwaukee Rep, Court, Hartford Stage, Congo Square, The Alley, American Theatre Company, Chicago Shakespeare, Drury Lane, Lookingglass, Victory Gardens, Meadow Brooke, Northwestern, Notre Dame Summer Shakespeare, Shakespeare On The Green, Oak Park Festival, American Girl Theatre (New York, Chicago), Skylight Opera and Wright State University Theatre. He has recorded, mixed and produced cast albums for eight musicals and over 400 film, TV, DVD and computer game credits worldwide. He has been nominated nine times for a Jeff Award and won four times. His memberships include USA #829, ASCAP and IATSE #2.
Stephan is a DP, photographer, documentarian and visual designer. Stephan’s projection design for Northlight includes: Faceless, Discord, Funnyman, Shining Lives, Better Late (Larry Gelbart & Craig Wright) and Three Women Talking (Arnold Wesker). Other projection design credits include: Fundamentals, Russian Transport, The Wheel, Tempest, Sonja Flew, The Cherry Orchard and Of Mice and Men, all at Steppenwolf Theatre Company. stephanmazurek.com
Vanessa is a director and choreographer located in Chicago. Most recently she directed Circuscope at the Actor’s Gymnasium, and this spring she directs The America Play at Oracle. She is most known for her work with Redmoon, where she served as Associate Artistic Director. She enjoyed collaboratively directing & choreographing several Redmoon productions including a remount of The Cabinet, Last of My Species, Winter Pageant, Princess Club and The Great Chicago Fire Festival. Vanessa is also an instructor at Columbia College and University of Chicago.
Production Stage Manager
Rita is proud to be starting her 11th season at Northlight, where she has been fortunate to be the stage manager for 27 productions as well as two trips to Galway. Recent credits elsewhere in the Chicagoland area include productions at Theatre at the Center (Munster, IN), Victory Gardens, Route 66 Theatre Company, Goodman, and the annual Christmas Schooner at the Mercury Theater. She is the proud wife of actor Tom Hickey and mom to four-year-old Charlie, and has been a member of Actors’ Equity for over 15 years. Thank you for supporting live theatre!