“The Years Between Us” reviewed by Frank Meccia

****/****

Remember having a crush on your babysitter? I suspect plenty of us do. Growing up, many of us had babysitters who were perhaps seven years older than we were. They were old enough to seem sophisticated, yet young enough to play games with us, help with homework, and make us laugh. Then, just as we began to develop those innocent crushes, they would leave for college or move on with their lives.

And what happened when they returned years later?

That is where our story begins.

Josh, played convincingly by Julian Rus, has never quite gotten over his childhood crush on Lacey, played by Kate Cvengros. Now that Lacey has returned home after being away for several years, Josh sees his opportunity. In a moment of youthful optimism, he decorates the recreation room with balloons announcing “Prom?” and invites Lacey to accompany him to his senior prom.

It is an adorable gesture, but reality has other plans.

Lacey laughs off the invitation before attempting to explain why accepting it simply isn’t possible. You can feel Josh’s embarrassment and disappointment. His feelings are genuine, and Rus does an excellent job portraying that awkward combination of hope, vulnerability, and teenage romantic idealism.

Just as the conversation reaches an uncomfortable point, Josh’s younger sister, Tessa, arrives home.

Played by Michaela Horn, Tessa is the quintessential teenage sister who thinks she knows everything. She has an answer for everything, enjoys picking on her older brother, and seems convinced that she is always the smartest person in the room.

Older brothers everywhere will recognize this character immediately!

Hurt by Lacey’s rejection, Josh storms off, eventually inventing a story that he has already asked someone else to the prom and received a positive response. With Josh gone, Tessa and Lacey are left alone, and the play begins to reveal its more serious emotional layers.

Behind Tessa’s attitude and teenage tantrums lies a young woman dealing with considerable pain. Her mother died in a car accident, leaving her to grow up in a household with just her father and brother. Beneath the sarcasm and bravado is a teenager struggling to understand herself and her place in the world.

Then comes a startling revelation.

Tessa admits that she secretly traveled to New York City, where she performed as a stripper under the name Scarlet.

It is an unexpected confession, but it becomes a turning point in the play. Rather than simply judging Tessa for her choices, Lacey recognizes an opportunity to help the younger woman find confidence in herself. Their interaction leads to a dance routine that provides a welcome change of pace and allows the two characters to connect in a different way.

What begins as an awkward encounter between a young man and his former babysitter gradually becomes a story about the complicated relationships between young adults, family members, and people trying to figure out who they are.

Act Two Takes a More Serious Turn

In this two-hour production, including intermission, the second act brings another significant revelation.

When Josh returns, we learn that Lacey’s homecoming is about more than reconnecting with people from her past. She is pregnant and uncertain about what to do next.

The conversation that follows raises difficult questions about pregnancy, responsibility, and the choices available to a young woman facing an unexpected future.

I was somewhat surprised that one important option was missing from the discussion: adoption.

Regardless of one’s personal beliefs about pregnancy, adoption deserves a place in conversations about the choices available to women who are not prepared to raise a child. It is an option that can provide a future for both a birth mother and a child, and I believe it should be acknowledged whenever these difficult decisions are discussed.

The United States has hundreds of thousands of children in foster care, although that figure should not be confused with the number of children awaiting adoption. The circumstances surrounding foster care and adoption are complicated, but they underscore why conversations about the future of children deserve thoughtful consideration.

I am not suggesting that every play must explore every possible outcome. However, the omission stood out to me, particularly because the situation provides an opportunity to examine the many directions a young woman’s life can take.

The strength of theatre lies in its ability to entertain us while encouraging us to think about subjects that may not have easy answers.

A New Theatre Worth Discovering

One of the most encouraging aspects of this production is the direction of Liam Pietrzyk, who takes his place in the director’s chair for the first time. He brings the story to life on an intimate stage, allowing the characters and their relationships to remain at the center of the experience.

The Lodge Theatre operates under the leadership of Jonathan James, a familiar name in the Chicagoland entertainment community. James is the executive director and co-founder of JK Entertainment, and his involvement reflects a commitment to bringing theatrical opportunities to audiences beyond the traditional Chicago theatre circuit.

For those of us who regularly attend productions throughout the Chicago area, it is easy to become accustomed to visiting the same established venues. We know where they are, what they offer, and what to expect when we walk through their doors.

But sometimes, the most rewarding experiences come from discovering something new.

The Lodge Theatre offers an intimate setting, a historic location, and an opportunity to experience performers and creative talent in a different environment. The recreation-room setting is particularly effective for The Years Between Us, helping the audience feel as though they are observing a family’s private conversations rather than watching a story unfold on a conventional stage.

And that intimacy matters. When a play deals with first crushes, sibling rivalries, grief, unexpected pregnancy, and the challenges of growing up, the closer connection between the audience and the performers can make the experience all the more engaging.

Final Thoughts

Although it is too late to catch this production of The Years Between Us, I encourage readers to keep The Lodge Theatre on their radar.

Elgin is approximately an hour’s drive from Chicago, depending on traffic and your starting point. It offers a pleasant change of scenery, a rich architectural history, and a growing opportunity to experience live theatre outside the city.

For those who love discovering new venues and supporting the arts throughout the region, a trip to Elgin could be well worth the drive.

You can learn more about upcoming productions at www.thelodgeelgin.com or call 224-402-5314.

As someone who has spent considerable time exploring Chicago’s theatre scene, I always enjoy discovering a new venue that deserves a place on the local theatre map.

The Lodge Theatre is one I will be watching.

Put it on your radar. I know it is now on mine!

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