Amazing Grace (Chicago) Tickets

Throughout the canon of recent musical theater, the genre has seemed to divide itself into two distinct realms with very little overlap: (1) the fantastical spectacle show meant to transport you into a different time and place for the sake of entertainment--say, Phantom or The Lion King--and (2) the aggressively in your face reminder of the harsh realities of real world life--like Next To Normal or Company. I actively discourage positing that either variant is more artistic or valid than the other--both have their respective and respectable places in the theater scene. However, I do despair that so seldom do we see those two realms converge. Amazing Grace is the beautiful exception. Intricate period costume pieces, a set that dances along the line of inventively simple yet simultaneously lavish, stunning choreography and fine actors immediately transport the audience to a gorgeously different time and place than our own. We are drawn into the adventurous seascape where, unlike today where the world is at our fingertips, explorers had to travel far and wide to reach hand to discovery. However, things quickly turn asunder as we are faced with unforgivingly with a cruel reality. While even today we glamorize and honor the sea faring ways of those who discovered the country we reside in, we must concede that a different time and a different place also calls forward a different set of morals. Amazing Grace is unforgiving in its representation of the hypocritical and disturbingly vicious nature of slavery. While the characters of the show takes us on metaphorical and literal journeys, involving us in family affairs, love entanglements, taking us to different countries and cultures, themes of oppression and betrayal between human beings follow us. We as an audience find every excuse we can to hide these uncomfortable themes behind all the glamour and laughs. We set aside the racism for the spectacular sea voyages and effects and the brilliance of waltz choreography. We excuse the racism with the banter between Josh Young's John Newton and his slave caretaker who we know as Thomas, and by laughing at the pomp of the bigoted Major. However, as is the case with the character John Newton himself, we can only ignore it for so long until it comes to light and spits in our faces. Here lies the magnificence of the show: it puts us in the shoes of John Newton, and leaves it up to us to amend for the faults of today and fight against racism as he did. What I personally appreciated as a POC is that the show did not play as a white messiah story in which we are meant to applaud the white character for being the "good guy." It is not a self congratulatory pat on the back for white people who affected change. Powerful scenes with Chuck Cooper's Thomas and Laiona Michelle's Nanna remind us of the influential African Americans who inspired change, and who inspired goodness. John Newton himself, in a brilliantly acted, tear jerking scene, comes to the same realization that a fight for slavery is not him making the world better, but rather making the world as it is supposed to be; that he is correcting mistakes. Not doing something more. That equality is not a privilege or a cause but a basic human right. While I've sung the praise for many of the show's actors, I must continue and applaud the entirety of the cast. Josh Young's acting is as poignant as ever in this role. Each acting choice is carefully deliberate without feeling unnatural, and given every bit of character one can muster. Josh Young pulls no punches with his acting, as is the case with his singing. Those familiar with his work know of his powerhouse, fill-the-theater voice, and his trademark versatility. His resonating straight tones and rich baritenor timbre contrast beautifully against the brilliant Erin Mackey's floating soprano. Whereas Newton is grounded in the grim reality of the real world, Mackey's Mary Catlett strives idealistically for a more just world--traits that shine through their vocal contrast. It is later in the show when they, and I'll try to say this with as little spoilers as possible, reach common interests that we are introduced to Young's bright falsetto that plays so beautifully with Mackey's effortless soprano. Actors who portray their character arcs through not only acting but also through voice deserve the largest of nods. Considering we've now spoken of her, Erin Mackey deserves incredible praise and certainly earns her character the in-show renown as a celebrated concert soprano. She is fiercely strong willed and quick to many sharp lines, delivered with impeccable thoughtfulness of character and humanity. A resonant moment in the show is when Mackey's Mary first touches hands with a black revolutionary. In her eyes, even from the back of the house, you see her immediate instinct of ignorant fright turn into a quiet, guilty understanding that he is as human as her. It's amazing acting. Chuck Cooper, playing the character we know as Thomas, Newton's confidante and servant, is the show's gem. The selflessness and light-hearted banter he delivers quickly makes him the audience's favorite hero. Conversely, his emotional, heart breaking sense of justice in a world that doesn't agree absolutely rips the consciences out of the audience and forces them to face their own understanding of racism. Chuck Cooper is powerful. Laiona Michelle, Mary's Nanna, delivers the show's "I Dreamed a Dream," if you will, displaying a powerhouse voice and emotion to boot in the Daybreak number. Chris Hoch's Major Gray rubs everyone the wrong way in just the right way, wonderfully delivering a grotesque antagonist for the show. Tom Hewitt's Captain Newton shares brilliant chemistry with Josh Young's John Newton and more than stands his ground with full forced acting. Harriet D. Foy's Prince Peyai rattles the audience with her larger than life presence. While I've sung the praise for this show, I must make a few recommendations. While in the orchestra this is hardly a problem, the speaker volume and mic gain are turned down far too low for those in the dress circle or higher. Through act 1, I was sitting right in front of the speakers and still had to strain to pick out the details, and I was among the younger members of the audience. Thank goodness for Josh Young's famous diction. Furthermore, considering elaborating on or expanding the roles of the abolitionists. They appear and disappear throughout the show, functioning more as catalysts for the plot than as characters. This is a terrible shame particularly because Mike Evariste's Tyler is one of the most underutilized, beautiful voices of the show. After a long Broadway run with this show, please consider Marius in Les Mis or Monty Navarro in Gentlemen's Guide! Thank you all! And please make sure you theatergoers continue to support the show through its Broadway transfer.

We loved the show. Both the music and the story telling. Physicality added another dimension to the performance.

As the show is billed, "the song the world knows. The story it doesn't." This is a musical you must see to be captivated by the song and the story. What a sensational new musical that has it all! Story, music, dancing, meaning, thought provoking, laughs, tears and so much more! The musical is memorable and powerful! The talent on and off stage is top notch all the way. You can see that everyone has poured their heart and soul into this musical. It was the best! I am actually go back to see it again! Chicago is fortunate to have this preview. Don't miss it!

Every songs are amazing!! Love their voices. And I went to my first Broadway premiere.

The singing in Amazing Grace was phenomenal. The acting was wonderful. The story itself is emotional and was at moments very intense. But there were moments of humor as well. I really enjoyed this. If I lived in Chicago, I would definitely go a second time. I had not gone to the Bank of America theater before so I was thrilled to find out that the acoustics were excellent.

Excellent. Good story, great music, outstanding performances.

Great!!! We loved it!!!it is super for whole family.

It was good don't get me wrong. The special effects were terrific. The acting and singing were wonderful. The story however was more about slavery than John Newton. The writing didn't help me to feel passionate about his rebirth. His transformation occurred without much ado. The climax was so so at best. I wanted to feel compassion for him and his story was luke warm.

Story is great. Songs are excellent. Sets are magnificent. Play is one of the best ever seen.

Perhaps because it was opening night it was just not impacting. Talent was very average. I thought the lead male role was not a good choice. The sound was very poor. Our seats were on the main floor orchestra right an few had to strain to hear. We left art intermission.couldn't imagine sitting through the rest of the performance.