Damn Yankees at Theo Cabaret Theatre thru July 5th

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“Theo’s Damn Yankees is a Grand Slam!”  - Review By: Paul Lisnek   

*** ½ / 4

“Theo’s Damn Yankees is a Grand Slam!”

Theo Ubique Cabaret Theatre’s Damn Yankees revives this Golden Age Classic Musical (by Adler & Ross and Abbott & Wallop) with charm, force, and clear affection. What could be more appropriate during our nation’s 250th birthday celebration than an all-American blend of Faustian fantasy with All-American optimism and grit…led by a fully committed and talented cast.

At the center of the game is Chicago stalwart actor Luke Nowakowski, whose Joe Boyd/Joe Hardy balances earnestness in his love of the American Dream by fighting for the underdog. Nowakowski grounds the story emotionally, making Joe’s supernatural bargain feel less like a gimmick and more like a genuine crisis of identity. Opposite him, Tommy Thurston’s devilish Mr. Applegate provides his requisite evil nature with a great sense of humor that never falls into excess; we come to like this devil who fortunately gets his due successfully showcasing the show’s supernatural stakes. 

Jenny Couch’s Lola is sultry and delightfully self-aware of the challenge she faces with the good-hearted Joe Hardy. Couch ably sidesteps inviting caricature with a fine vocal performance and impressive dance moves. It is fun to watch her transition from expected temptress to a woman who comes to recognize that in Hardy, she is dealing with a sincere kind-hearted subject forcing her to soften her playful manipulation. 

Director Daryl D. Brooks (whose long-time primary home is Black Ensemble Theater) understands Theo’s intimate staging needs (being an alum director of Assassins in this space). He has transformed the black box set into a baseball field and locker room where the audience essentially plays the role of fans in the stands. Brooks emphasis is on character relationships and storytelling clarity.

In this close space, he could permit his cast to connect a bit more directly with the audience, certainly during game moments given that we clearly feel like we are often watching a game. The production thrives in its intimate moments—a glance, a gesture, and tightly executed choreography makes the audience feel embedded in the action anyway, so Brooks should just play to it.

Candidly, opening night was not without its challenges. The horn section of the small band proved inconsistent at times in tone taking a bit too much attention away from the wonderful score. Unfortunately, technical difficulties at the finale led to a short break, and an unsuccessful attempt to resolve the problem, so it was not possible to use the band for the final scene of the show. Yet in a testament to both professionalism and Theo’s theatrical resilience, the cast pressed forward, delivering the closing number a cappella. What could have been a deflating disruption instead became one of the evening’s most memorable moments—raw, immediate, and real. In fact, during the curtain call, Nowakowski shouted out, “that’s live theater!” and he was exactly right….this is the magic of live performance….dealing with whatever may come your way.

Truth be told, that finale encapsulated the spirit of this Damn Yankees: imperfect in execution at times, but rich in heart, commitment, and a deep love for live performance. Theo Ubique’s production had a shortstop stumble so to speak, but its cast ensured it maintained its footing where it mattered most. Batter up!!

Damn Yankees plays thru July 5th with tickets available at: www.theo-u.com