By Rikki Lee Travolta
Every profession has its designated tools. Chefs use pots, pans, and special knives. Ocean fishermen use nets and the appropriate bait. Astronomers use telescopes – at least when they’re allowed to.
Henrietta Leavitt was a real historical figure who made numerous important discoveries in astronomy, even being regarded by the Harvard Observatory as a “human computer.” Yet, Henrietta was not allowed to look through the observatory’s massive telescope. Why? Because she lived in a time that offered little to no protections and advancement opportunities for women.
Simply put, women weren’t allowed to use the telescope, even as it related to their own work. Imagine a ditch digger being told he can’t use a shovel.
“Silent Sky” is a superbly written and exceptionally well-acted and directed production now playing at Citadel Theatre in Lake Forest through March 17, 2024. The two-act play dramatizes Henrietta’s work at Harvard, as well as her family interactions and her love life. The result is heavenly. There’s romance, intrigue, happiness, laughter, tears, disappointment, and triumph – in short, all the makings of a great story.
In the play, Henrietta longs to be respected as an astronomer. She has a passion for the stars and for understanding the lights in the sky. Finally, she gets her chance, leaving her father, sister, and the rest of her family to take a job at Harvard University’s observatory.
At the higher learning institution, Henrietta is in for initial disappointment. She learns that as a woman, she is not allowed to use the massive telescope to examine the sky. She and a handful of other women, she learns, have been hired to be human computers – trying to make calculations about the stars based on photographs.
The tightly written show explores several themes. On the one hand, it is a play about the inequality between the sexes in the late 19th and early 20th centuries. It also examines family ties in examining Henrietta’s relationship with her sister Margarette. Finally, it deals with the balance of romance and work.
As the focal character, Melissa Harlow is superb. She manages to create a period character without ever seeming dated. She explores all the emotional touch points of the character, and she creates unique and touching relationships with each of the other characters on stage. It is not always easy for a strong character to believably show vulnerability and still maintain her strength. Harlow conquers the challenge brilliantly.
Adam Thatcher plays Henrietta’s direct supervisor at the observatory, Peter Shaw. Thatcher is ingenious in his subtlety. It’s easy to create a character with big actions and reactions, but Thatcher accomplishes even more with less. Like Harlow, Thatcher shows a full gamut of emotions. Their relationship seems very real – both the working relationship and the romance that sparks between them.
Laura Michele Erle nicely fills the shoes of Henrietta’s sister Margaret. While Henrietta has little in terms of aspirations for lifelong love, for Margaret family is everything. While Henrietta explores the world and pursues a career in astronomy, Margaret stays home to care for their father. Erle does a strong job of showing both love and resentment for her sister.
Henrietta’s co-workers Annie Cannon and Williamina Fleming share Henrietta’s aspirations to do more and accomplish more. However, they are not as bold as their friend and associate. The interplay between Annie and Williamina with Henrietta is a nice contrast to how Henrietta and Peter interact. Anne Lentino plays Annie and Cameron Feagin plays Williamenia. Both are exceptional actresses who contribute to an overall moving and thoroughly captivating play.
Understudies for “Silent Sky” include Paige Klopfenstein (U/S Henrietta), Emily Turner (U/S Margaret), Josh Bernaski (U/S Peter), Tina Shelley (U/S Annie), and Kelly Levander (U/S/ Williamina). Offering support in other ways, John Olson Communications provides the public relations expertise that brings in the patrons for each Citadel Theatre performance. Bruce Ackerman serves as house manager, ensuring that patrons have a great experience.
Director Beth Wolf has a wonderful script by Lauren Gunderson to work from. A superior script in the hands of a skilled director can result in incredible theatre. The dialogue flows effortlessly and realistically. In fact, realistic is a key word in describing what Wolf has pulled out of her actors. For the audience, is like watching history unfold. Honest emotions. Movement with intent and purpose. Unforced conversational interactions. It all works.
Trevor Dotson provides a set very suggestive of the period, with construction headed by master carpenter Brian Wasserman. Three sections blend well together allowing each to be used individually such as for a room or an office. At other times they are used in conjunction with each other – depending on what the reality of the moment requires and the movement of the scene dictates.
Complimenting Dotson’s design and Wolf’s staging is lighting design by Joel Zishuk. His lighting does a magnificent job of setting the emotional tone of a scene and also is pinpoint perfect in defining different playing areas. Zishuk provides a masterclass in creating walls in a room simply with lighting.
Like many theatres in Chicagoland area, Citadel has been experimenting with the use of LED screens to add to its overall scenic design. At times some theatres overuse the new technology, which is an understandable temptation. We all like to play with our newest toys. However, Wolf and her production team use the LED screens and projections designs by Chris Owens just enough to make a huge impact in a minimal amount of time. It is an ideal use of the technology.
Intimacy director Sheryl Williams has done an excellent job ensuring that romantic scenes retain the realism and authenticity that Wolf has achieved throughout the production. Dialect coach Cate Gillespie further hammers home the realism of the production by having the performers in full command of their characters’ accents.
Costumes are appropriate and nonintrusive, which is just what the story calls for. It is not a play about costumes. It is a play about the stars and one strong-willed woman who sacrificed friendships, romantic interests, and even the needs of her family in her quest to map and understand the unknown.
The title “Silent Sky” can be attributed to Henrietta Leavitt’s hearing disability. She suffered from partial hearing loss, and required a hearing aid in order to effectively interact with the hearing community. But when she was studying planets, she would often remove her hearing aid to be in silent communion with the vastness of space.
Props are pooled from the resources of Patrick McGuire. Stefanie Senior provides sound design and also composed the original music used in the play. Production managers are Ellen and Scott Phelps, Scott is also the artistic director of the company. Stage manager is Erin Galvin who is assisted by Alex Trinh on stage crew and three scenic change artists: Sandra Bacon, Shawn Killackey, and Jesus Ortega.
Citadel Theatre is in residence in the West Campus of the Lake Forest School District at 300 S. Waukegan Road in Lake Forest. “Silent Sky” runs through March 17, with performances Thursday through Sunday. There are also select Wednesday matinees on February 21 and March 6.
For tickets visit www.CitadelTheatre.org or call (847) 735-8554 ext 1.
Photo credit: North Shore Camera Club
For more reviews visit: Theatre in Chicago – your source for What’s on Stage in the Chicago Area.
“Silent Sky” is a superbly written and exceptionally well-acted and directed production now playing at Citadel Theatre in Lake Forest through March 17, 2024. The two-act play dramatizes Henrietta’s work at Harvard, as well as her family interactions and her love life. The result is heavenly. There’s romance, intrigue, happiness, laughter, tears, disappointment, and triumph – in short, all the makings of a great story.
In the play, Henrietta longs to be respected as an astronomer. She has a passion for the stars and for understanding the lights in the sky. Finally, she gets her chance, leaving her father, sister, and the rest of her family to take a job at Harvard University’s observatory.
At the higher learning institution, Henrietta is in for initial disappointment. She learns that as a woman, she is not allowed to use the massive telescope to examine the sky. She and a handful of other women, she learns, have been hired to be human computers – trying to make calculations about the stars based on photographs.
The tightly written show explores several themes. On the one hand, it is a play about the inequality between the sexes in the late 19th and early 20th centuries. It also examines family ties in examining Henrietta’s relationship with her sister Margarette. Finally, it deals with the balance of romance and work.
As the focal character, Melissa Harlow is superb. She manages to create a period character without ever seeming dated. She explores all the emotional touch points of the character, and she creates unique and touching relationships with each of the other characters on stage. It is not always easy for a strong character to believably show vulnerability and still maintain her strength. Harlow conquers the challenge brilliantly.
Adam Thatcher plays Henrietta’s direct supervisor at the observatory, Peter Shaw. Thatcher is ingenious in his subtlety. It’s easy to create a character with big actions and reactions, but Thatcher accomplishes even more with less. Like Harlow, Thatcher shows a full gamut of emotions. Their relationship seems very real – both the working relationship and the romance that sparks between them.
Laura Michele Erle nicely fills the shoes of Henrietta’s sister Margaret. While Henrietta has little in terms of aspirations for lifelong love, for Margaret family is everything. While Henrietta explores the world and pursues a career in astronomy, Margaret stays home to care for their father. Erle does a strong job of showing both love and resentment for her sister.
Henrietta’s co-workers Annie Cannon and Williamina Fleming share Henrietta’s aspirations to do more and accomplish more. However, they are not as bold as their friend and associate. The interplay between Annie and Williamina with Henrietta is a nice contrast to how Henrietta and Peter interact. Anne Lentino plays Annie and Cameron Feagin plays Williamenia. Both are exceptional actresses who contribute to an overall moving and thoroughly captivating play.
Understudies for “Silent Sky” include Paige Klopfenstein (U/S Henrietta), Emily Turner (U/S Margaret), Josh Bernaski (U/S Peter), Tina Shelley (U/S Annie), and Kelly Levander (U/S/ Williamina). Offering support in other ways, John Olson Communications provides the public relations expertise that brings in the patrons for each Citadel Theatre performance. Bruce Ackerman serves as house manager, ensuring that patrons have a great experience.
Director Beth Wolf has a wonderful script by Lauren Gunderson to work from. A superior script in the hands of a skilled director can result in incredible theatre. The dialogue flows effortlessly and realistically. In fact, realistic is a key word in describing what Wolf has pulled out of her actors. For the audience, is like watching history unfold. Honest emotions. Movement with intent and purpose. Unforced conversational interactions. It all works.
Trevor Dotson provides a set very suggestive of the period, with construction headed by master carpenter Brian Wasserman. Three sections blend well together allowing each to be used individually such as for a room or an office. At other times they are used in conjunction with each other – depending on what the reality of the moment requires and the movement of the scene dictates.
Complimenting Dotson’s design and Wolf’s staging is lighting design by Joel Zishuk. His lighting does a magnificent job of setting the emotional tone of a scene and also is pinpoint perfect in defining different playing areas. Zishuk provides a masterclass in creating walls in a room simply with lighting.
Like many theatres in Chicagoland area, Citadel has been experimenting with the use of LED screens to add to its overall scenic design. At times some theatres overuse the new technology, which is an understandable temptation. We all like to play with our newest toys. However, Wolf and her production team use the LED screens and projections designs by Chris Owens just enough to make a huge impact in a minimal amount of time. It is an ideal use of the technology.
Intimacy director Sheryl Williams has done an excellent job ensuring that romantic scenes retain the realism and authenticity that Wolf has achieved throughout the production. Dialect coach Cate Gillespie further hammers home the realism of the production by having the performers in full command of their characters’ accents.
Costumes are appropriate and nonintrusive, which is just what the story calls for. It is not a play about costumes. It is a play about the stars and one strong-willed woman who sacrificed friendships, romantic interests, and even the needs of her family in her quest to map and understand the unknown.
The title “Silent Sky” can be attributed to Henrietta Leavitt’s hearing disability. She suffered from partial hearing loss, and required a hearing aid in order to effectively interact with the hearing community. But when she was studying planets, she would often remove her hearing aid to be in silent communion with the vastness of space.
Props are pooled from the resources of Patrick McGuire. Stefanie Senior provides sound design and also composed the original music used in the play. Production managers are Ellen and Scott Phelps, Scott is also the artistic director of the company. Stage manager is Erin Galvin who is assisted by Alex Trinh on stage crew and three scenic change artists: Sandra Bacon, Shawn Killackey, and Jesus Ortega.
Citadel Theatre is in residence in the West Campus of the Lake Forest School District at 300 S. Waukegan Road in Lake Forest. “Silent Sky” runs through March 17, with performances Thursday through Sunday. There are also select Wednesday matinees on February 21 and March 6.
For tickets visit www.CitadelTheatre.org or call (847) 735-8554 ext 1.
Photo credit: North Shore Camera Club
For more reviews visit: Theatre in Chicago – your source for What’s on Stage in the Chicago Area.
