Review Roundup: Jenna Fischer & More Lead ASHLAND AVENUE at The Goodman Theatre in October

Lee Kirk’s new Chicago-set drama Ashland Avenue is now on stage through October 12 at The Goodman Theatre. The world-premiere production, directed by Walter Artistic Director Susan V. Booth, is the first of The Goodman’s Centennial 2025/2026 season and stars The Office’s Jenna Fischer alongside Chicago’s own Francis Guinan (The Cherry Orchard), with Will Allan (The Cherry Orchard), Cordelia Dewdney (Drury Lane’s Steel Magnolias) and Chiké Johnson (Toni Stone). 

A local business, a stubborn heart, a lively city street and the quiet moments when a family begins to change come center stage in Ashland Avenue. Pete’s TV and Video has served Chicagoland for 40+ years, its plucky owner famous for his legendary commercials and customer care. But it’s a new era, and Pete’s last store location is struggling while Sam—his daughter and family business heir apparent—has different dreams. This hilarious and moving new play asks what happens when we step outside of our parents’ footsteps to follow our heart?

What did the critics think?

Chris Jones, Chicago Tribune: Often, the play, directed by Susan V. Booth, feels more of a draft in need of some judicious cutting than a finished work.  At two hours and 35 minutes, it’s at least 20 minutes too long, not least because the “We need to leave” / “Please don’t leave me” back-and-forths start to feel repetitive. Cut away the weeds and we’d better appreciate Kirk’s considerable skills with language. [...] Fischer is generous and ensemble-minded on stage and comes with the deadpan sense of humor her legion of fans admire.

Catey Sullivan, Chicago Sun-Times: The performances are credible. As Sam, Fischer dials into the angst of a woman who has devoted a lifetime to her father’s dreams but wants to pursue her own desire to write a book. But the script sometimes works against Fischer, such as a monologue that outlines a terrible, dragon-centric novel idea that is also a laborious extended metaphor. It clunks harder than a Philco hitting a landfill.

Kerry Reid, Chicago Reader: But at two and a half hours, Ashland Avenue runs too long without covering enough fresh narrative ground to justify the length. Like Madhuri Shekar’s Dhaba on Devon Avenue (presented in a coproduction with Writers Theatre and TimeLine Theatre in July), it definitely has a rich, if familiar, foundation for its story: an aging widowed father who wants to pass on his business to his daughter, and who is stubbornly avoiding the truth about the changing times. 

Alan Bresloff, Around the Town Chicago: On the technical side,, the fight co-ordination (Chuck Coyl) did a splendid job. We were in the 5th row , and it was amazing. Kevin Depinet’s set is amazing and should be looked at with admiration. The lights (Jason Lynch), the sound (Lindsay Jones, who also composed the music) and the costumes (Jessica Pabst) were all the ingredients of a perfect recipe as prepared by Director Susan V. Booth.

Rachel Weinberg, BroadwayWorld: ASHLAND AVENUE is modest in scope, but Kirk’s dialogue and tight scenes keep the play moving at a nice pace. When I saw the play on Friday night, the two acts were about an hour each. Guinan, a staple of the Chicago theater community, is doing excellent work. Guinan’s Pete is both daffy and occasionally befuddled, but also manipulative when he wants to be — especially when it comes to his friendship with Jess (Cordelia Dewedney, lovely and emotional), a former employee who moved into his home due to challenging circumstances with her children’s father. It’s a strictly platonic relationship, but it’s clear that Pete sees in Jess and her kids the family unit — and grandchildren — he’ll never have with Sam.