About 30 years ago, Sheldon Epps had an innovative idea to merge the music of Duke Ellington with the storyline of William Shakespeare’s “Twelfth Night.” He set this fusion in the vibrant atmosphere of 1930s Harlem. Epps, now 73, recently mentioned over a drink in Chicago that he aimed to celebrate Black excellence, artistry, and joy. Harlem, he said, represented these qualities due to its magical charm then, and he believes it still can.
Epps held the position of associate artistic director at the Old Globe Theatre in San Diego when the concept for “Play On!” began in fall 1996. It transitioned to Broadway the next spring, featuring a cast including Tonya Pinkins and André De Shields. Cheryl L. West, a writer with substantial Illinois ties known for works like “Holiday Heart,” wrote the musical’s book. The play received decent reviews, leading to Tony nominations for Pinkins and De Shields. However, according to Epps, it was overshadowed and struggled to attract an audience, closing after 61 performances.
By 1998, Epps sought a new production in Chicago. He contacted Goodman Theatre’s artistic director, Robert Falls, reigniting the project. Falls recalled his affection for the cast recording of “Play On!” after Broadway’s curtain had fallen. He eagerly supported the idea of a Chicago production. Pinkins and De Shields reprised their roles, joined by Paul Oakley Stovall, a fresh face. The event was praised by the late Tribune critic Richard Christiansen as a “summer-long smash,” reviving the show’s momentum.
After this Chicago revival, “Play On!” experienced a period of inactivity. Meanwhile, Epps built on his theater career, serving two decades as Pasadena Playhouse’s artistic director until 2017. Despite the pause, the show has returned to Chicago. This time, it finds its place at Chicago Shakespeare Theater under Epps’ direction. He hopes for a revival in London’s West End and another Broadway run, setting it apart from its 1997 version.
The latest Chicago staging boasts a 16-person cast, many locals, and a live band performing Ellington hits. This production follows a successful UK tour in 2024 directed by Michael Buffong. Buffong had discovered “Play On!” at the Lincoln Center library in New York. The tour sparked renewed interest in the United States. Epps emphasized the expansion of Shakespeare’s influence and increased focus on choreography by Edgar Godineaux.
Although Epps now selects his projects judiciously, his career has spanned stage and TV, including working on shows like “Frasier” and “Girlfriends.” Chicagoans last saw his work in 2022 at the Studebaker Theater with “Personality: The Lloyd Price Musical,” aimed at Broadway amidst industry recovery post-COVID.
Epps expressed his affection for working in Chicago. He no longer needs to work for financial reasons, but he pursues projects that ignite his passion, much like “Play On!” continues to do.
I love working in Chicago. And while I don’t have to work for the money, I do like to do something that ignites my passion. That’s true of this show, even after all these years.— Sheldon Epps
The continuity of Epps’ vision persists, embodying the spirit of Black artistry and joy through “Play On!”
Chris Jones is a Tribune critic [email protected]
If you go:
“Play On!” runs Sept. 11 to Oct. 18 at Chicago Shakespeare Theater, Courtyard Theater on Navy Pier, 800 E. Grand Ave.; www.chicagoshakes.com
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