*Kendal Marie Wilson, AJ Paramo, Christopher Kelley, Aaron James McKenzie, Jarais Musgrove, Eric A. Lewis and Haley Gustafson*

Goodman Theatre Presents REVOLUTION(S) Review - Radicalism Runs in the Family

TLDR: Coming from Goodman’s new play series, Revolution(s) is a new rock musical that tells a story of generations of radical activists. Set in Chicago, we see two sons with differing takes on activism unpack their family history in a fast-paced story with life threatening conflicts.

*(L-R, back) Aaron James McKenzie, Alysia Velez and Billy Rude. (L-R, front) Jarais Musgrove, Christopher Kelley, AJ Paramo and Kendal Marie Wilson*

Generations of Radicals at Goodman

With a pistol and shotgun strapped to their sides, two figures wearing sunglasses and all black walk down the hallway in a prison. They are on a mission to save a person inside and walk in like they own the place. Suddenly there’s a shower of gunfire with lights flashing, people yelling, and alarms blaring. We don’t know what’s happening but hope that they all come out the other side alive.

In present day Chicago, a man has just returned from serving in Afghanistan. We don’t know much about him yet, only that he’s expected at home but doesn’t want to return there just yet. Shifting scenes to inside this home, we’re met with another young man who has headphones on and is lost in his own world playing guitar. These two are twin brothers, Hampton and Ernesto, played by Aaron James McKenzie and Jakeim Hart, who couldn’t be further apart with how they view activism. They were raised on the South Side of Chicago to parents Emma and Leon (Jackie Burns and Al'Jaleel McGhee), who, unbeknownst to their sons, have a long history being radical activists.

Opposed at the beginning, Leon knows he needs to explain their family’s history in order to impart something to his sons. Alternating between events happening in the present as Hampton finds himself further and further enmeshed in an escalating situation with the cops and flashing back to Leon and Emma’s beginnings, we see how each generation fights injustice in different ways even though the battle remains the same.

Quadruple Threats Take The Stage

The cast is incredibly talented as every member pulls the usual triple threat of acting, singing, and dancing in this new musical. Then add the fourth threat of playing an instrument and it shows how Goodman has assembled an all-star cast.

The ensemble is dressed in all black and become various side characters throughout the show. They don various Chicago sports team hats as we make our way North and come out in bullet proof vests and hats when they become the police. Whenever they’re on stage they bring the energy and force adding oomph behind each main character who is singing.

McGhee adds the emotional backstory of the Falk-Weems family. We see his and Emma’s love blossom under a shared desire of social change. He doesn’t hide the gritty parts of their past and takes us through his own emotional reckoning which brings us to today.

Jackie Burns and Alysia Velez play the powerhouse revolutionary women alongside their respective partners. We see Burns as the backbone of support for her family and Velez commands the stage as she leads a musical rally. When each of them faces tragedy, our hearts break but mend when they are there for each other and hug each other tightly.

McKenzie plays Hampton with a chip on his shoulder as he balks against what he thinks his father wants for him. He’s loud and puts himself out there, ready to lead against the injustices he finds himself in. And Hart plays Ernie as his counterpart, more quiet and reserved, but still angry at the unfairness of the world. Hart lets his stellar guitar skills speak for him as he finds his voice in his music. All together this cast forms a loud call to action that can’t be ignored.

Invoking The Revolutionary Spirit

The set designed by Derek McLane feels similar to ones created for Rent as the musicians sit on stage and levels are created with scaffolding. Smaller set pieces are rolled on and off as we change scenes - a blackboard when we flashback to Emma’s teaching days, grocery bags when Sunny comes back from the store, and a mic stand when we’re at the protests. Incorporating live video streaming, it feels like in moments where the characters start recording themselves and are projected on the back wall, we could be the ones they're talking to spreading the word about what’s happening.

The music of Revolution(s) is epic and electric, departing from any traditional style of musical theatre music structure and instead opting for a blend of rock, punk, hip-hop, and rap. The opening number itself is entitled “Keep Going” and rockets through the auditorium calling us all to attention. Throughout all the musical numbers, we feel this theme of power come through so that when we get to the closing number “Hold The Line,” we’ve reached a point of momentum calling for action going further than the theater walls.

Then the story of Revolution(s) itself also has a quick pace as we travel back and forth through events, but never so much that we feel overwhelmed. The story unpacks legacy and history so we see how people vying for change have adapted their protest tactics, but also see how history repeats itself with a continuous cycle of violence.

And through it all there’s also a sense of love, support, and community. We see the different characters find comfort with their respective partners and also how the community comes together to support each other. It strikes another chord as we know the revolution isn’t done alone.

The After Party Thoughts

I already hear the naysayers claiming theatre and musicals should be fun! And remembering comments when Pence went to go see Hamilton, “the theatre should be a safe and special place!” But Revolution(s) is the kind of art that is exciting because it doesn’t play it safe. It’s raw and modern and keeps the conversation going about social activism, Black Lives Matter, police brutality, and radical change. And you know what, if you can sit through a three hour musical about the French Revolution (looking at you Les Mis) then you would probably like this musical about the revolution that’s happening at home.

For those that fall into the category of liking theatre when it’s a feel-good story or like shows that don’t hold a mirror up to real life, this show may not be the best fit for you. On the other hand, it would be a good fit for those that know the battle isn’t over and the revolution is still ongoing. Revolution(s) is an art piece that breaks traditional molds and reinforces the revolutionary inside of us, especially here and now in Chicago.

HIGHLY RECOMMENDED

When

Now through November 16, 2025

Where

Goodman Theatre

170 N Dearborn St.

Chicago, IL 60601

Runtime: 2hrs 10min, including an intermission

Tickets

$30+

Tickets can be purchased by calling the box office at (312) 443-3800 or through the Goodman Theatre website

Photos

Brett Beiner

CAST

Jackie Burns (Emma Falk)

Jakeim Hart (Ernesto “Ernie” Falk-Weems)

Michael Earvin Martin (Sunny Weems)

Al'Jaleel McGhee (Leon Weems)

Aaron James McKenzie (Hampton Falk-Weems)

Billy Rude (Sean Collins)

Alysia Velez (Lucia “Lucy” San Martin)

Haley Gustafson (Ensemble)

Christopher Kelley (Ensemble)

Eric A. Lewis (Ensemble)

Jarais Musgrove (Ensemble)

AJ Paramo (Ensemble)

Kendal Marie Wilson (Ensemble)

Joseph Anthony Byrd (Understudy)

Daryn Whitney Harrell (Understudy)

Ty Shay (Understudy)

*Al’Jaleel McGhee and Michael Earvin Martin*

CREATIVE

Steve H. Broadnax III (Director)

Jason Michael Webb (Music Supervisor, Arrangements, and Orchestrations)

Millicent Johnnie (Choreographer)

Derek McLane (Set Designer)

Raquel Adorno (Costume Designer)

Greg Hofmann (Lighting Designer)

Stephanie Farina (Sound Designer)

Rasean Davonté Johnson (Projections Designer)

Greg Geffrard and Sheryl Williams (Intimacy and Violence)

Kat Zukaitis (Line Producer / Dramaturg)

Zack Steele (Associate Director)

Lia Wallfish (Associate Costume Designer)

Lo Williams (Assistant Director)

Sarah Ann Sulewski (Assistant Choreographer)

Parker Molacek (Assistant Projections Designer)

Stark Winter (Assistant Lighting Designer)

Stu Mindeman (Score Supervisor)

Samuel Perlman (Music Assistant)

Tor Campbell (Script Assistant)

Paul Mutzabaugh (Music Director / Associate Music Supervisor / Conductor / Bass)

Jo Ann Daugherty (Associate Conductor / Keyboards)

Dan Leali (Drumset / Percussion)

Gary Guzman (Acoustic and Electric Guitar)

Chris Siebold (Acoustic and Electric Guitar)

Lauren Port, CSA (Casting)

Brett Presson (Production Stage Manager)

Imani Ross (Stage Manager)

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