• Skip to primary navigation
  • Skip to main content

Newcity Stage

Theater, Dance, Comedy and Performance in Chicago

  • Newcity Stage ·
    • About
    • Advertise
    • Privacy Policy
    • Newcity Network
  • Sections ·
    • Newcity
    • Art
    • Design
    • Film
    • Lit
    • Music
    • Resto
    • Brazil
  • Newsletters
  • Subscribe
  • Members Hub
Newcity Stage logo

Deranged Delight: A Review of Shockheaded Peter at Black Button Eyes Productions

by Irene Hsiao | August 16, 2017

by Irene Hsiao
August 16, 2017August 23, 2017Filed under:
  • Musicals
  • Recommended Shows
  • Theater
  • Theater Reviews

Anthony Whitaker, Kat Evans, Gwen Tulin and Pavi Proczko/Photo: Cole Simon

RECOMMENDED

Stories for children have had their macabre side long before the Brothers Grimm released their first volume of fairy tales in 1812—Hansel and Gretel roast a cannibalistic witch in her own oven; Cinderella’s stepsisters amputate slices of their feet to fit in a tiny shoe; Rapunzel’s prince suffers a vicious blinding—and these are just the ones most kids know by heart.

So when physician Heinrich Hoffmann wrote and illustrated a book he called “Lustige Geschichten und drollige Bilder” (Merry Stories and Funny Pictures) as a Christmas present for his three-year-old son, it was hardly bizarre that the stories starred children who seemed to exist for the sole purpose of being punished. Published to wild success at the encouragement of his friends, the jolly stories of psychopathic Frederick, pyromaniac Harriet, anorexic Augustus and incorrigible thumbsucker Konrad are now beloved classics for German children, all collected under the unkempt emblem of Struwwelpeter (Shockheaded Peter), whose nails and hair curl and snare with hellish absence of order.

Black Button Eyes Productions presents an extravagant rendition of Julian Crouch and Phelim McDermott’s “Shockheaded Peter,” which frames Hoffmann’s fables within a narrative of parental narcissism and neglect. “Sometimes we have to be cruel…for recreational purposes,” drawls the preening MC (Kevin Webb)—and indeed any propensity to wickedness your id may be harboring is enacted by a multi-talented ensemble of gleeful sadists who sing, play instruments, contort, cavort, stilt walk and scream as easily as they kill off each naughty tot.

For the weak of stomach, no blood is spilled in the gory hour. Instead, the production wanders along the fanciful side of the horror spectrum, supported by excellent costuming by Beth Laske-Miller and artful use of the puppets designed by Jeremiah Barr. As the parents, Cody Jolly and Stephanie Stockstill are a picture perfect pair of domestic harmony and derangement. Ellen DeSitter (Agrippa), Kat Evans (Philip), and Genevieve Lerner (Robert) are as adroit with their limbs as their voices in their named and supporting roles. Caitlin Jackson is a destructive delight as Harriet. And Anthony Whitaker as evil Frederick is the orange-haired ogre of our unfortunate nightmares. (Irene Hsiao)

Black Button Eyes Productions at the Athenaeum Theatre, 2936 North Southport, (773)935-6875, blackbuttoneyes.com,$17-$32. Through September 16.

Tagged:
  • Anthony Whitaker
  • Beth Laske-Miller
  • Black Button Eyes Productions
  • Caitlin Jackson
  • Cody Jolly
  • Ellen DeSitter
  • Genevieve Lerner
  • Heinrich Hoffmann
  • Jeremiah Barr
  • Julian Crouch
  • Kat Evans
  • Kevin Webb
  • Phelim McDermott
  • Stephanie Stockstill

Post navigation

Previous Post Raw Talent Refined: A Preview of “Body Passages”
Next Post Playing with Cultural Gestures: A Preview of “sixty minutes towards being there” at Defibrillator
A man dressed as a cowboy kneels on stage holding a revolver, wearing a brown coat and black hat, with a wooden saloon backdrop and dramatic lighting.

City Lit’s “Shane” Brings the Western Novel to the Stage Mark Pracht's adaptation of the 1949 book rewrites masculinity in a Western setting, with a phenomenal performance by lead Michael B. Woods.

Mary Wisniewski September 3, 2026
A person dressed as Napoleon points dramatically while another person in a lavender dress laughs heartily at a table decorated with flowers and cosmetics, on a brightly lit stage set.

City Lit’s “Changing Channels” Finds Comedy in the Shadow of the Blacklist John Reeger’s witty new play set during the golden age of television follows a variety-show performer forced to choose between career success and political conscience.

Mary Wisniewski March 12, 2026
A young woman in a light dress and a man in a red jacket stand together on stage, smiling and holding up a red shoe, with other actors seated in the background during a theatrical performance.

Maximalism and Magic at the Joffrey Ballet’s “The Nutcracker” The Chicago-centric version of the holiday classic, set the winter before the World’s Columbian Exposition of 1893, turns ten.

Sharon Hoyer December 9, 2025

This Is the Moment for Kokandy’s “Jekyll & Hyde” Jaw-dropping vocals breathe life into a melodramatic cult favorite.

Robert Eric Shoemaker November 6, 2025

A magazine cover split vertically: the left half shows wood grain, the right half shows a mans face and neck. NEWCITY and OCTOBER 2021 appear in yellow text at the top right.

October Issue
Realism

GET A COPY

SUBSCRIBE

White text in all capital letters on a light gray background spells NEWCITY..
Facebook Twitter Instagram
  • About
  • Privacy Policy
  • Advertise
  • Subscribe
  • Newsletters
  • Chicago Film Project

Copyright Newcity Communications, Inc. © 2026