IT’S TIME TO RAGNARÖK ‘N’ ROLL 

An exuberant Norse rock opera with
enough swagger to survive the apocalypse

Anthony Kayer, Jack Chylinski, Grace Reidenauer, Avery Thompson

A corner of a decrepit night club greets you as you walk into Lifeline Theatre’s performance space. Shabby chandeliers hang from the ceiling. Tinsel and trash are everywhere. Above the instruments, a broken entablature hangs askew, with a sun at its cornice. Elsewhere in Lindsay Mummert’s scenic design, peeling blue paint merges into the grays to evoke a cloudy sky.

Welcome to Asgard, home of the Gods, where we are graced by the world premiere of Loki – The End of the World Tour, a new musical with music and lyrics by George Howe, and a book by Christina Calvit.

Kelan Smith, Alek Boggio, Kara Olander

The show begins with the Norns, the celestial beings who shape destiny and know all; even more so than the Gods. The Norns will serve as both our narrators and the band. They comprise Urd (Kelan Smith, who sports a splendidly vague Nordic accent, and serves as Howe’s co-music director to boot), Verdandi (Kara Olander, on keyboards), and Skuld (Alek Boggio, on drums). Blowing the roof off with a roar of chords, the Norns introduce us to our celestial cast (“Fire and Ice”), a sextet of Norse gods, with the titular Loki getting pride of place.

Kelan Smith, Alek Boggio, Kara Olander, Keenan Odenkirk

Loki is a surprisingly faithful adaptation of the events that lead up to Ragnarök, the end of the world in Norse mythology. The shape-shifter, gender-swapping, trickster Loki (Jack Chylinski) shows up at the door of the All-Father Odin (a sonorous Scott Danielson in leather daddy gear), asking for permission to stay. Part giant, part God, Loki wants a better life, not just for himself, but also for his three children that she’s secretly smuggled along in a suitcase. Thoroughly charmed by Loki, Odin swears a blood brother oath with him and welcomes her to Asgard, much against the wishes of the Goddess of love and war Freya (Janelle Sanabria in disco queen togs), and much to the delight of Sigyn (Kate McQuillan, all frills and girlishness) who is smitten with Loki at first sight. Also present is Thor (Keenan Odenkirk in biker attire), the arrogant and lunkheaded God of thunder, who is too busy smirking and preening to care, and Baldur, the God of Joy (Peter Gartas, plainly dressed as befits his humble demeanor).

(front) India Renteria, Jack Chylinskiback, (back) Avery Thompson, Grace Reidenauer, Anthony Kayer

Unbeknownst to the Gods, Loki’s children — Hel (Grace Reidenauer), a sullen, terrifying punk; Fenris (Anthony Kayer), a snarling wolf; and Middy (Avery Thompson), a serpent — are part of a prophecy that will bring about the downfall of Asgard, and lead to Ragnarök, the final battle of good vs. evil at the end of the world.

Aly Amidei’s intricate costumes are integral to the characters, even playing into the musical genres of their solos. As befitting Loki’s shape-shifter status, his costumes run the gamut stylistically; her songs fall into multiple genres as well.

Kelan Smith, Alek Boggio, Kara Olander, Janelle Sanabria, India Renteria, Jack Chylinski, Peter Gertas, Scott Danielson, Keenan Odenkirk

Cleverness runs through every element of this production: Odin’s ravens are depicted as a tattoo on the back of his hand; the slo-mo hurling of Thor’s hammer is so profoundly silly that it’s delightful; and I cannot work out how they managed to pull off the intricate make-up change when Anthony Kayer switches roles from Fenris to Thrym and back to Fenris again: I suspect witchery was involved.

The score contains some genuinely rocking bangers, interspersed with just the right amount of power balladry to give our eardrums some relief. And I was astounded by Emily Hayman’s sound design, which is so precisely calibrated that every word — sung or spoken — comes through, even during the more raucous numbers. In a show this loud, and a space this high, it’s a remarkable accomplishment.

Kelan Smith, Alek Boggio, Kara Olander, Janelle Anabria

Loki absolutely blazes through its 150-minute running time and director Heather Currie and her cast are firing on all cylinders. The supporting players are uniformly good, but if I had to pick my favorites, Keenan Odenkirk’s hilarious Thor — part Meatloaf, part Gaston — and Grace Reidenauer’s Hel — especially in the second act where she is heartbreaking — would get top marks.

Alek Boggio, Kelan Smith, Kara Olander

Everything comes down to Loki, though, who is masterfully played by Jack Chylinski. They carry the show, perfectly embodying Loki through all shifts in tone, character, emotion, and gender. I first saw this actor in last year’s hilarious punk rock musical TL; DR at Theo Ubique, where they gave a beautifully underplayed portrayal, effortlessly blending into the ensemble. It was my favorite performance in that show. Loki is a different kettle of fish. A part like this requires more than talent, it needs star power. Fortunately for this production, Chylinski is a star, with charisma to spare. If we didn’t know it before, we know it now.

Scott Danielson, Jack Chylinski

Loki takes us all the way through Ragnarök. The closing number is sung post-carnage and performed with so much energy and joy that it’s almost overwhelming. A few rules of theater are broken here, but you know what, it’s the end of the world; the rules don’t apply. Not anymore.

Also, an extra star for the best fart joke ever!

Jack Chylinski

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photos by Josh Bernaski

LOKI – The End of the World Tour
Lifeline Theatre
6912 N. Glenwood Ave. in Rogers Park
Fri at 7:30; Sat at 2:30 & 7:30; Sun at 2:30
2½ hours with one intermission
ends on June 14, 2026
for tickets ($45), call 773.761.4477 or visit Lifeline Theatre

for more shows, visit Theatre in Chicago

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