Displaying items by tag: Parrotheads

A gentle, tide‑easy current settles in right from the start, immediately signaling the kind of story this musical wants to tell. Rather than relying on big, splashy moments, it settles into a warm, beach-side rhythm, inviting the audience into a world where the pace is slower, the mood is lighter, and the soundtrack does most of the lifting. It’s a straightforward setup that frames the show’s island‑styled escapism - and Jimmy Buffett fans, the devoted Parrotheads, are the ones most likely to find the deepest enjoyment in the sunny, good‑natured spirit of Escape to Margaritaville, now playing at North Shore Center for the Performing Arts in Skokie.

The plot is about as simplistic as it gets, and the musical makes no attempt to complicate it - and wisely doesn’t try. This is a tropical resort fantasy through and through. Greg Garcia and Mike O’Malley’s book embraces the unhurried appeal of Jimmy Buffett’s catalog, following Tully, an unassuming island singer who’s perfected the art of keeping life simple. His routine of strumming for tourists and dodging commitment gets disrupted when Rachel, a driven, no‑nonsense researcher collecting soil samples for her environmental research, arrives with no interest in island romance. Their unlikely connection sets off a laid‑back, free‑wheeling story about unwinding, taking risks, and discovering that paradise has more to do with perspective than palm trees.

Music Theater Works’ production, directed and choreographed by Brenda Didier with co-direction from Sarafina Vecchio and choreography support from Clayton Cross, embraces the show’s escapist spirit with bright staging and a playful sense of fun. Linda Madonia’s music direction anchors the evening from above, leading a band perched atop the set and sending out a steady stream of easy-going, gentle sound. The placement and style add to the show’s illusion of an oceanfront getaway, as if the music itself were drifting in from somewhere just beyond the shoreline. The plot may be light, but that’s the point - this is a feel good, cocktail in hand comedy where the stakes are low, the energy is high, and the journey is as mellow as the island wind the characters keep singing about.

(L to R) Kate McQuillan and Brian Acker in JIMMY BUFFETT’S ESCAPE TO MARGARITAVILLE. Photos by Brett Beiner Photography.

Brian Acker brings a loose, sun-warmed charm to Tully, giving the beach-town, guitar-slinging singer enough sincerity to keep the character from drifting into pure caricature. His vocals land with clarity and confidence, especially in Buffett staples like “Margaritaville,” where he captures the relaxed swagger that defines the show’s tone. He’s immediately likable and effortlessly engaging. Acker’s performance makes Tully feel like the steady breeze that holds the spirit of the musical, and he dives into the character’s aesthetic with full commitment. He’s the quintessential casual beach guy - flip flops, baggy shorts, feathered hair, and a Hawaiian shirt that looks like it’s logged more sunsets than most vacationers.

Kate McQuillan’s Rachel is a sharp, engaging counterbalance, grounding the story with her focused energy and bright, assured voice. She shines in numbers like “It’s My Job” and “Fins,” bringing humor and heart to a character who could easily be played too straight. Together, Acker and McQuillan create an appealing opposites attract dynamic, especially in their duet “Coast of Marseilles,” where their voices blend with an ease that makes their connection feel genuine.

If Rachel is heading to a coastal destination for work, it makes perfect sense that she’d bring her best friend, Tammy along for the ride. Khaki Pixley’s Tammy is one of the production’s brightest assets, delivering buoyant humor with razor-sharp timing and a sweet, outgoing personality that consistently lifts every scene she enters. Her reactions, comedic beats, expressive voice, and kind presence land so well that her arc quickly becomes one of the show’s most enjoyable threads. When Chase Grabowski’s Brick (local bartender) eventually joins her storyline, his endearing, slightly hapless charm pairs beautifully with Pixley’s energy, giving their subplot an energetic, goofy momentum that often feels more engaging than the central romance.

The humor in Escape to Margaritaville often lands on the simpler side - broad, predictable, and occasionally so contrived that a few jokes slip past without much impact. It’s not unexpected, though. This is a Jukebox musical built from Jimmy Buffett’s sun-drenched catalog, and the story exists mostly as a loose framework for beach living, easy flirtations, and the reminder to stop taking life so seriously. The show rarely aims beyond that, and for many theatergoers, it doesn’t need to. Buffett fans in particular seemed fully dialed in; several audience members chimed in word for word when prompted, and a few even jumped in unprompted, turning certain moments into an impromptu Parrothead sing-along. It’s clear the musical resonates most with those already attuned to Buffett’s drifting tunes. And that connection wasn’t limited to the songs themselves.

And while the music is plentiful, a few musical numbers stand out more than others, especially when the show leans into its unapologetic silliness. “Why Don’t We Get Drunk & Screw” becomes a cheeky ensemble hand off, passed around with just enough sly irreverence to keep the moment playful rather than crude. “Cheeseburger in Paradise” delivers the burst of high spirited, indulgent fun audiences expect, and it also marks a personal breakthrough for Tammy, who finally lets herself enjoy something without the undeserved guilt her controlling fiancé has inflicted upon her. These numbers aren’t subtle, but they’re performed with a knowing grin - and they capture the musical’s willingness to jump into the louder, lighter corners of Buffett’s catalog.

Music Theater Works surrounds its leads with a spirited supporting cast that keeps the wave-easy antics humming. Tamara Batiest’s Marley offers strong vocals, grounded wit and a steady presence at the resort, providing a nice balance to the show’s more free-wheeling characters. Brian James’ J.D. brings an unforced, confident energy whenever he appears, adding texture without pushing beyond what the material calls for. The full ensemble delivers solid work throughout, particularly in the larger song and dance numbers, where their precision and coordination give the production some of its cleanest moments. Together, they help shape a world that feels carefree, lightly free-flowing, and appropriately tuned to Margaritaville’s unhurried atmosphere.

(center) Khaki Pixley with members of the cast in JIMMY BUFFETT’S ESCAPE TO MARGARITAVILLE from Music Theater Works.

Bob Knuth’s scenic design instantly drops the audience into a daylight‑washed island resort, complete with weathered wood, bright, beach‑toned colors, and the kind of relaxed bar setup that practically begs for a frozen drink. It’s the classic Margaritaville environment: part seaside hangout, part vacation fantasy, and just spirited enough to feel genuinely alive. Ab Rieve adds personality throughout with props that make the space feel lived‑in - cocktail blenders, beach gear, and all the little touches that sell the idea of a resort where anything can (and usually does) happen. Clare McKellaston’s costumes keep the surf-side energy high, dressing the cast in vibrant prints, light‑spirited resort wear, and vacation‑ready looks that pop under the lights, while Kristen Brinati ensures every wardrobe detail stays crisp from scene to scene. I truly enjoyed the set, which effectively transported the audience into the moment and grounded the shore-soft atmosphere. The production team does a fine job in building a getaway that feels like a ticketed trip to paradise.

October in Chicago has a way of nudging everyone indoors - gray skies, damp sidewalks, and that first hint of winter settling in. All the more reason to duck into a theater and spend a couple of hours somewhere warmer, brighter, and blissfully carefree. Escape to Margaritaville offers exactly that: a coastal reset button when the city insists on being chilly and unpredictable.

When Escape to Margaritaville made its pre-Broadway stop at the Oriental Theatre in 2018, I was tucked into a rear seat when a persistent glow kept flickering to my right. Someone was typing away on their phone mid show, pausing every so often to chat with the person beside him like he was running a private commentary track. After a few minutes, I leaned over and politely asked if he wouldn’t mind putting his phone away. He looked up, and I told him I was reviewing the show for Jimmy Buffett. Without missing a beat, he smiled and said, “I am Jimmy Buffett.” He was taking notes, whispering observations, and generally behaving like a man watching his own musical while conducting field research. Only Jimmy Buffett could turn mid-show multitasking into part of the entertainment.

He laughed, I laughed, and he explained he was jotting down notes on the show and the audience’s reactions. After the curtain call, we chatted, and in true Buffett fashion, he casually invited me to the post‑performance reception. It was the kind of easy, friendly gesture one wouldn’t necessarily expect from a major star - unless it was Jimmy Buffett. Jimmy was actually a little shy surrounded by his Parrotheads at the packed, island‑themed afterparty, until I invited him to join the celebration and led him by the hand into a circle of fans dancing to “Cheeseburger in Paradise.” He danced for some time, and while doing so, he beamed at me from the center of that exuberant moment, delighted in a way that felt almost childlike.

I didn’t realize at the time how much that passing exchange would matter. After his passing in 2023, I smiled to myself at the memory of how touching and important our chance encounter in the back of his theater premier really was. 

In staging Escape to Margaritaville, Music Theater Works pays genuine tribute to Jimmy Buffett’s legacy, channeling the warmth, playfulness, and island‑spirited generosity that defined both his music and the man himself. At two hours and twenty minutes (including intermission), the Buffett musical is a light, good-natured escape that provides an unruffled evening - an inviting couple of hours of coastal fun.  

Recommended.

Escape to Margaritaville runs through November 1^st at North Shore Center for the Performing Arts. For tickets and/or more show information, click here.

In reviewing Jimmy Buffett’s new musical Escape to Margaritaville I was seated in the last row of the Oriental Theatre but since the row was reserved and nearly empty, I settled in for a nice relaxing show with no one coughing on me or knocking my elbow off the armrest. The show began and a few minutes later two smiling, enthusiastic, knee tapping men came in and sat next to me on the aisle.
They were whispering excitedly back and forth and one of the men, who was small-framed with glasses, took out his cellphone and began typing into it every few minutes.

They seemed like such excited fans, as the phone activity continued. I didn't want to say anything but finally buckled and leaned over and gently brushed his hand, smiling like "Hey, that's a no- no." But he just smiled at me and moments later kept typing. After another ten minutes or so, I again leaned over and said, "Darlin', I know you're super excited to be here (and I pointed to my Press Kit), but I'm trying to review this show." The bouncy, Larry David lookalike laughed and said, "Darlin', I’m Jimmy Buffett!" I didn’t recognize him in the dark! 

We laughed together and naturally I told Jimmy to take as many notes as he needed! And thus began a wonderful night of celebrating this Broadway bound production based on Jimmy Buffett's life. 
The script written by Greg Garcia and Mike O’Malley (with book also by Emmy Award winner Greg Garcia) tells a classic story of romance between Tully, a handsome singer/songwriter living the island life, and drifting from one cute tourist to another without falling in love. Tully's world is changed however when a beautiful, intelligent, but over worked, scientist named Rachel visits the resort with her best friend Tammy who is about to be married - to the wrong man. On this island the word “work” is identified as a " dirty word" and Rachel is warned gleefully by Tully that if she says it too often her mouth will be "rinsed out with tequila!" 

The book includes original music and at least twenty-seven of Buffett's classic hits including "Come Monday", "Volcano", "Cheeseburger in Paradise", and a hilarious PG-rated version of "Let's Get Drunk (And Screw)”. 

The two youthful leads, Tully played by Paul Alexander Nolan - and Rachel (Alison Luff), have very nice chemistry, rich voices and give the rowdy, drunken fun of the play a real love story to ground it and make you care about the characters despite the constant joking around. 

Parrotheads will love the free living, take it easy on yourself moral of the story, which simply put echoes Buffett's own successful take on "living life in the moment to the fullest, and loving the one you are with.

I really love the way Rachel's character is written as both very intelligent and nature loving. The entire audience loved the way her best friend Tammy is encouraged to go ahead and EAT "the cheeseburger she desires whether she fits into her wedding dress or not and then has her literally flying across the stage (Peter Pan style) when she frees herself from the critical and unappreciative man she was about to marry before being rescued by Tully's funny, free living, best friend. 

Walt Spangler created a beautiful sparkling set full of water and sunny blue skies. The only thing I wanted to see more of in this wonderful, constantly changing island paradise set was palm trees and green. But this already winter-weary Chicago audience was delighted by the many hues of clear blue water, colorfully lit Tiki Huts and cloudless skies, nonetheless. 

The lesser known, but deeply touching Buffett songs “We are the People Our Parents Warned Us About”, “Love and Luck”, “He Went to Paris” and “License to Chill” were used to nice effect to deepen and round out the overall feelgood, life's a party feeling of the show, especially when the audience realizes even the seemingly shallow Tully understands there is something very important missing from his idyllic island lifestyle when he meets Rachel and finally feels true love for the first time. 

Opening night attendees were treated to a real Buffett experience when Jimmy joined the cast for the show’s final few numbers.

After the show I got to speak with Buffett and his fans a little more in depth at the Maragaritaville-themed after party. We laughed again at my own "work, work, work" uptightness even as Jimmy apologized profusely for having to take notes on his phone during the show and he asked me if I noticed his mature adult fans gleefully swaying and dancing in their seats. 

I DID come to the realization after talking with Parrotheads from twenty to eighty-years-old at the party, that although I was born and raised in Miami, Florida, I had no idea how vast and successful the Jimmy Buffett brand has become and stayed over past decades. I really got a sense of how happily devoted his fans are to him as a musical artist and his never give up - do it yourself lifestyle guru, if you will.  

I know the play needs to move along and stay fictional to a degree, but I would have loved to have seen a few scenes about Buffett's real-life tales of trying and failing at a music career in NY and Los Angeles. Those years of being rejected while trying to find his niche which caused him to say, "Screw You" to record execs and move his whole life to the "the farthest key in Florida", finally building his own internationally loved and recognized brand in true maverick style with his own fans from Key West. These true tales of overcoming small-minded criticisms and his so-called failures along the way are so inspirational I wish they had been addressed in this production. 

Since there is still time to tweak this fun-tastic production before it moves on to Broadway and on tour, I have to say I agree with other reviewers who were put off by the dance numbers by the dead insurance salespeople, the "LSD flashbacks" dreamt up by Tully's sidekick during stressful moments. The choreography in these dance numbers was great but the creepy, scary, gray and white ash covered insurance salespeople (whom he was told died in a volcanic eruption on the island) would have been better spent on dance numbers for the main cast members or more of the bikini and swimsuit clad vacationers to keep the fun, psychedelic friendly mood coming without interruption. 

Loved it. I highly recommend this fun loving, musically delightful production to remind everyone to SLOW DOWN, and stop towing the line at "work, work, work!" thereby letting their dreams of love and romance die a slow, painful death. Buffett's philosophy of living and acting spontaneously reminds the audience in a wonderful way that life changing chances at love (like the one when he met his wife) come and go which might never come again. 

Once I realized I was seated next to Jimmy Buffett himself during the show, I couldn't help noticing the touching way he sang along quietly to himself with his own music, these are his babies after all, and the foundation of a hugely successful $500 million dollar plus industry of restaurants, vacation cruises and music, etc., that his devoutly loyal fans, the Parrotheads, have enjoyed for thirty years. As I watched Jimmy Buffett's fans dance around their "leader in paradise" at the after party and the screams of laughter and joy during the show as beach balls came raining down on them from above, I became certain that they will continue to honor Buffet's legacy and frequent his now very real "Margaritaville" for the rest of their lives. 

Escape to Margaritaville is being performed at Oriental Theatre through December 2nd. For more show information visit www.broadwayinchicago.com.