Review: Bri Sudia shines in ‘Always… Patsy Cline' at Drury Lane Theatre

Chicago Tribune

20-06-2025

Cowboy hats and Nashville-style dresses proliferated Thursday night in Oakbrook Terrace. Not the first time I've noticed that fans of country music are more common in Chicago's western suburbs than many people think.
All had assembled at the Drury Lane Theatre for 'Always … Patsy Cline,' a remarkably resilient revue by Ted Swindley that now has enjoyed a longer life than did the actual Patsy Cline herself. (Cline died in a Tennessee plane crash in 1963 when she was just 30 years old.)
Based on the real-life friendship between Cline and one of her fans, Louise Seger, the revue has a long and auspicious history in Chicago. It was a massive, late-1990s hit for Northlight Theatre with folk singer Megon McDonough appearing in the title role, before the late Hollis Resnik took over when the show moved into a commercial run at the Apollo Theatre. I've reviewed this two-person (plus live band) show several other times, too, most recently about five years ago when it was staged in an intimate setting by Firebrand Theatre.
Over the years, I've found that its simplicity is its biggest asset. 'Always… Patsy Cline' avoids the usual jukebox tropes of record label suits and managers who don't understand and focuses instead on delivering Cline's greatest hits within the context of a simple female friendship. Louise tells the singer's story from a fan's perspective and Patsy delivers 27(!) of the hits, mostly in honkytonk-style settings. And at less than two hours with an intermission, the show doesn't outstay its welcome.
All that said, and despite my familiarity with this material, I really had an uncommonly great time on Thursday night, mostly because of the presence of Bri Sudia in the role of Louise.
Sudia, recently back from appearing on Broadway for a year in the Neil Diamond musical 'A Beautiful Noise,' is far and away the best Louise I've seen. She's funny, empathetic and just so very warm; it's easy to condescend to Louise, as to all superfans, but Sudia simply refuses to do anything like that. She honors her character's obsession — at one point, she leans so far and lovingly toward Aja Alcazar's Patsy that Sudia's body occupies a diagonal plane — but also never takes her character too seriously. As a result, she feels both like Cline's great protector and also one of us. I don't exaggerate when I say this is a truly fabulous performance, a piece of acting that wrestles with this little show and makes it seem so much more than it has felt in the past. Clearly, Sudia has learned that even jukebox revues need to have stakes and they have to be able to drive the action forward, too. On the night I was there, the audience simply adored her goofiness.
Alcazar is the ideal foil for that: elegant, honest, and rich of voice but also self-protected and slightly unknowable, as is the case with all stars. I suspect the skilled director, Scott Weinstein, had a lot to do with that. He knew who the real star of the piece was, even though her partner is essential to the enterprise.
Colette Pollard's set is like an A-frame, a lovely evocation of small-town Tennessee, even if the band (under the lively direction of Ellie Kahn) looks a bit scrunched. And Lee Fiskness knows where to shine the kinds of lights Cline never knew.
I suspect lots of my readers already know and have seen this show and, if choosing whether or not to lay down the credit card and go and bathe once again in the pleasures of 'True Love,' 'Crazy' and 'Walkin' After Midnight,' perhaps with a sweetie on hand, will merely want to know that their affection for the piece will be protected (guaranteed) and that they'll have some fresh fun (yup).
Aside from admiring the straightforward artistry here and enjoying the pleasure of others, I kept thinking about Taylor Swift's famously close relationships with her fans, turning up at their bridal showers and whatnot; maybe Patsy and Louise were far ahead of their time.
Review: 'Always Patsy Cline' (3.5 stars)
When: Through Aug. 3
Where: 100 Drury Lane, Oakbrook Terrace
Running time: 1 hour, 50 minutes
Tickets: $75-$150 at 630-530-0111 and drurylanetheatre.com