Displaying items by tag: Skokie

Music Theater Works is proud to announce the cast and creative team for the second production of its 2026 season, West Side Story, in the George Van Dusen Theatre, at the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd., Skokie, August 13 - 30.  West Side Story has a book by Arthur Laurents, with music by Leonard Bernstein and lyrics by Stephen Sondheim. Music Theater Works’ production is directed by Sasha Gerritson, choreographed by Clayton Cross and Isa Ramirez, and music directed by Linda Madonia. West Side Story includes a preview performance Thursday, Aug. 13 at 7:30 p.m. All performances include Spanish supertitles. The performance schedule is Saturday, Aug. 15 at 7:30 p.m., Sunday, Aug. 16 at 2 p.m. (Post-show discussion), Wednesday, Aug. 19 at 2 p.m., Friday, Aug. 21 at 7:30 p.m. (ASL Interpreted performance), Saturday, Aug. 22 at 2 p.m. and 7:30 p.m. (Post-show discussion), Sunday, Aug. 23 at 2 p.m., Wednesday, Aug. 26 at 2 p.m., Friday, Aug. 28 at 7:30 p.m., Saturday, Aug. 29 at 2 p.m. and 7:30 p.m. and Sunday, Aug. 30 at 2 p.m. Tickets are now on sale from $19.50 to $106 with tickets for guests 25 years old and younger available at half-price at MusicTheaterWorks.com or by calling the Music Theater Works box office at the North Shore Center, 847.673.6300. Memberships for the 2026 season are also available at MusicTheaterWorks.com and group discounts for 10 or more people are available by contacting This email address is being protected from spambots. You need JavaScript enabled to view it..

A timeless tale of love and rivalry, West Side Story brings Shakespeare’s Romeo and Juliet to the streets of 1950s New York. Caught between the tensions of two warring gangs—the Jets and the Sharks—Tony and Maria find themselves drawn to each other despite the violence that surrounds them. Featuring iconic songs like “Tonight,” “America” and “Somewhere,” West Side Story remains one of the most powerful and enduring musicals of all time.

The cast of West Side Story includes Luke Nowakowski (any, Tony); Isabella Ruano (she/her, Maria); Connor Ripperger (he/they, Riff); Pauleth Jauregui (she/her, Anita); Emmanuel Ramirez (he/him, Bernardo); Kameron Rojas-Schueneman (he/him, Chino); Callan Roberts (he/him, Action/U/S Tony); Nathaniel Urie (he/him, A-Rab, social media captain); Elliott Hansen (he/him, Snowboy); Sterling Ford (he/him, Big Deal); Albert Johnston (he/him, Diesel/U/S Lt. Schrank); Mollyanne Nunn (she/her, Graziella); Jenny Couch (she/her, Velma); Jordan Beyeler (she/her, Anybodys, dance captain); Henry Cartaya (he/him, Pepe/U/S Bernardo, fight captain); Alex Villaseñor (he/him, Indio/U/S Chino/assistant choreographer); Jordan “J.Ro” Ordoñez (he/they, Luis); Xander Ramirez (he/him, Toro); Harmony Rose (she/her, Rosalia/U/S Anita); Veronica Camargo (she/her, Consuela); Juliet Lopez-Gutierrez (she/her, Teresita); Isabella Gomez-Barrientos (she/her, Margarita/U/S Maria); Matt Rosin (he/him, Doc); Ivan James (he/him, Lt. Schrank); Eric Desnoyers (he/him, Officer Krupke); Rob Schroeder (he/him, Glad Hand); Emma Jean Eastlund (she/her, ensemble Jet/U/S Anybodys, non-equity deputy); Cristina Benninghoff-Uribe (she/her, ensemble Shark/Female ENS swing); Eric Amundson (he/him, ensemble Jet/U/S Riff) and Thomas M. Shea (he/him, swing); Will Fischer (he/him, ensemble Jet/swing) and Jaxson Smith (he/him, Baby John).

West Side Story’s creative team includes Sasha Gerritson (she/her, director); Clayton Cross (he/him, co-choreographer); Isa Ramirez (she/her, co-choreographer); Linda Madonia (she/her, music director); Justin Kono (he/him, conductor); Nick Sandys (he/him, intimacy and violence choreographer); Rachel Rock (she/her, stage manager); Bob Knuth (he/him, scenic designer); Cecilia Chan (she/her, props designer); Bob Kuhn (he/him, costume designer); Kristen Brinati (she/her, wardrobe head); Alice Salazar (she/her, hair, wig, makeup designer); Melanie Saso (she/her, hair, wig and makeup lead); Chelsea Lynn (she/her, lighting designer); Forrest Gregor (he/him, production sound engineer); Keely Vasquez (she/her, casting director); Chris Chase (he/him, production manager); Katie Meine (she/her, company manager) and Kyle Dougan-LeBlanc (any with respect, producing artistic director).

West Side Story Special Events

Post Show Discussions

Behind the Curtain with Thomas M. Shea

Audiences are invited to stay after the 2 p.m. performance on Sunday, Aug. 16 and the 2 p.m. performance on Sunday, Aug. 23 to join musical theater historian Thomas M. Shea, author of “Broadway’s Most Wanted,” for a post-show talk exploring the behind-the-scenes history of West Side Story. Free with the performance ticket, this engaging discussion is perfect for audiences to learn about the production, its history and more.

“Somewhere: Belonging, Safety and the American Dream” 

With members of our community partners Chicago Latino Theater Alliance, Latinos Progresando and others

Audiences are invited to stay after the 2 p.m. performance on Saturday, Aug. 22 for a discussion hosted by Lauren Harper and members of West Side Story’s community partners 

Binny’s Broadway Lounge

Join Music Theater Works before the show and at intermission for a drink and snack in Binny’s Broadway Lounge. Located on the second floor at the North Shore Center for the Performing Arts in Skokie, the Binny’s Broadway Lounge doesn’t need a reservation, just check-in when you arrive for the performance. 

West Side Story dates are:

• Saturday, Aug. 15 (Lounge opens at 6:30 p.m.)
• Sunday, Aug. 16 (Lounge opens at 1 p.m.)
• Saturday, Aug. 22 (Lounge opens at 1 p.m.)
• Saturday, Aug. 22 (Lounge opens at 6 p.m.)

ASL Interpreted Performance

The Friday, Aug. 21 at 7:30 p.m. performance will be ASL interpreted.

ABOUT SASHA GERRITSON, DIRECTOR

Sasha Gerritson is an opera and musical theater stage director who directs shows for many local and regional companies. Most recently having directed the critically acclaimed Music Theater Works’ production of Carousel, in addition to previous Music Theater Works’ shows Guys & Dolls, Brigadoon and Irving Berlin's White Christmas, she is proud to return for West Side Story. Known for her expertise in the standard repertoire, Gerritson is also a highly sought after opera director, having most recently directed Puccini's Manon Lescaut and Il Assassinio Nella Cattedrale for The Opera Festival of Chicago, where she serves as general director. In addition to her work as a stage director, Gerritson is a choral conductor and serves as the director of Music Ministries for the Park Ridge Community Church. Previous work as a choral conductor included positions with the Chicago Children's Choir and Merit School of Music. Gerritson is a proud board member of Music Theater Works, in addition to The Goodman Theatre, the Brookfield Zoo and DePaul University, where she serves as vice chair of the Board of Trustees. She served as the opera and music theatre director of Northeastern Illinois University from 2010-2022, has directed for Musica Nelle Marche (Urbino, Italy), Opera Piccola, DePaul University, the Cherub Music Theatre program for Northwestern University, in addition to various other summer programs in the area. She lives in Glenview with her husband Eugene Jarvis and their two sons, Nate and Josh. 

ABOUT CLAYTON CROSS, CO-CHOREOGRAPHER

Clayton Cross works nationwide as a choreographer, performer and dance instructor. Cross was most recently in the ensemble and dance captain of Rock Of Ages with Mercury Theater Chicago, with Drury Lane in the ensemble and dance captain in Grease as well as in the ensemble in Evita. He most recently choreographed Brigadoon for Music Theater Works. He was last seen on the Music Theater Works stage as “Scuttle” in Disney’s The Little Mermaid, in the ensemble of Mamma Mia! and as choreographer for Irving Berlin’s White Christmas and Billy Elliot The Musical. He was choreographer in residence with Music Theater Works under the direction of Rudy Hogenmiller for seven seasons where he choreographed and/or performed in Joseph and the Amazing Technicolor Dreamcoat as “Benjamin,” The Hunchback of Notre Dame, How to Succeed in Business Without Really Trying, Into The Woods, Anything Goes as “ensemble,” Pirates of Penzance as “ensemble,” Peter Pan as “Nana/Croc,” Gypsy as “Tulsa,” Mame as “ensemble,” Candide, Guys and Dolls, My Fair Lady, Die Fledermaus, The Fantasticks as “Mute,” Damn Yankees as “Eddie” and in A Chorus Line as “Greg” with Porchlight Music Theatre. Cross also performed at Marriott Theatre in La Cage Aux Follies as “Mercedes.” He is an instructor and choreographer for M.A. Dance Nation, a Texas based traveling convention circuit, where he has been choreographing, teaching and judging since 1999. Cross has five times been a consultant and contributed choreography for the Capital One Bowl’s “All American Halftime Show.” Throughout his 25 year career as a dancer he has worked with Robert Battle, Fernando Bujones, Sherry Zunker, Paul Taylor and Ann Reinking. Cross’s television credits include “Every Dancer Has a Story,” a PBS special on the River North Chicago Dance Company, where he was a company member for 10 seasons and toured nationally and internationally. He is originally from Midland, Texas where he received his early training from La Petite Dance Co., Coleman Academy and the Midland Community Theatre as a member of the Pickwick Players. He holds a double B.F.A. in Ballet and Modern Dance from Texas Christian University.

ABOUT ISA RAMIREZ, CO-CHOREOGRAPHER

Isa Ramirez is thrilled to be coming back to Music Theater Works as a choreographer -- especially for this show. Music Theater Works credits include: Brigadoon as “Maggie Anderson/ensemble,” Irving Berlin’s White Christmas as “ensemble” and Zorro! The Musical as “ensemble.” Ramirez has also had the pleasure of performing in other regional theaters such as: Oklahoma as “Ado Annie” and “Gertie,” West Side Story as “Rosalia” and “Margarita,” and Matilda as “ensemble/U/S acrobat” at the Fireside Theater and In The Heights as “ensemble/2nd U/S Daniela” at the Marriott Theater. When she isn't performing, she is teaching dance at Gus Giordano Dance School and dancing with their Legacy Dance Company. West Side Story is a story that is very near and dear to her heart, family and heritage.

ABOUT LINDA MADONIA, MUSIC DIRECTOR

Linda Madonia is thrilled to be back at Music Theater Works for West Side Story where she has previously music directed CATS, Guys and Dolls, Shrek, Mamma Mia and Camelot. Other recent projects include Jersey Boys, Rock of Ages and Sister Act at Mercury Theater Chicago. Anything Goes, Cabaret and A Chorus Line at Porchlight Music Theatre. Madonia also serves as the contractor for the Chicago Federation of Musicians for Porchlight Music Theatre and Music Theater Works. She is the vocal coach for the master’s degree program in Music Theatre Pedagogy at Carthage College and owns American Eagle Productions, which has been at the forefront of Theatre Education in the Chicago area for the past 35 years.

ABOUT MUSIC THEATER WORKS

Music Theater Works is a resident professional not-for-profit music theater founded in

1980. During its 45-year history it has presented more than 150 productions and intimate presentations. Music Theater Works is a professional theater company whose mission is to present works for the musical stage including historic repertoire, revitalizing the Golden Age of Broadway and earlier works, celebrating the Great American Songbook and introducing modern classics. 

Opera Festival of Chicago opens its 2026 festival season with Very Verismo!, that includes a VIP reception and a captivating concert celebrating the richness and beauty of Italian opera through works by leading verismo composers. The concert takes place Saturday, June 13 at 7:30 p.m. at the Jarvis Opera Hall in the Holtschneider Performance Center at DePaul University School of Music, 800 W. Belden Ave. Single tickets are $150. VIP tickets are $250 and include an exclusive pre-show reception beginning at 5:30 p.m., drinks and hors d’oeuvres, access to a silent auction and opportunities to meet festival artists. Tickets are $25 – $91 for the two mainstage productions in Opera Festival of Chicago and information are available at OperaFestivalChicago.org.

This special concert features headlining artists from the 2026 Opera Festival of Chicago season, an organization devoted to presenting world-class productions of rarely performed Italian opera masterworks while fostering a vibrant and accessible operatic culture in Chicago. The evening features music by renowned verismo composers including Puccini, Leoncavallo, Mascagni and Giordano, performed by an exceptional lineup of artists.

Soprano Alexandra Razskazoff, a Grand Finals winner of the 2022 Metropolitan Opera Laffont Competition, has been praised by The New York Times as a “richly faceted, slinky soprano” and by Opera News for a voice that is “rich, distinctive of timbre, penetrating, and possessing a lovely bloom on top.” She is joined by dramatic soprano Zhanna Alkhazova, heralded by Opera News for her “bright, sword-flashing sound”; tenor Nathan Granner, acclaimed for his “marvelous intensity” (Gramophone) and described as “a stirring tenor of equal parts metal and warmth” (Opera News) and baritone Franco Pomponi, praised by the Chicago Tribune as “the real article, a baritone with a warm focused tone and a genuine feel for true Italian legato singing.”

The Opera Festival of Chicago 2026 will also present two Mainstage productions: 

La Bohème (New Production) by Giacomo Puccini

Friday, June 26 at 7:30 p.m., Wednesday, July 1 at 7:30 p.m. and Sunday, July 5 at 2 p.m.

George Van Dusen Theatre, North Shore Center for the Performing Arts, Skokie

Directed by Sasha Gerritson

Conducted by Emanuele Andrizzi

La Bohème tells the story of young artists navigating love, friendship and poverty in 1830s Paris. The production stars Alexandra Razskazoff (Mimì), Nathan Granner (Rodolfo), Joe Lodato (Marcello), Catherine Antonia Samartin (Musetta), Jonathan Wilson (Schaunard), Anthony Reed (Colline) & William Powers (Benoit & Alcindoro).

Widely regarded as one of the greatest operas ever written, La Bohème follows a group of young artists struggling to survive in 1830s Paris. At its center is the poetic love story between Rodolfo and Mimì, unfolding against themes of poverty, friendship and the fleeting nature of life. Puccini’s unforgettable score captures universal emotions of joy, loss and heartbreak.

Adriana Lecouvreur (New Production) by Francesco Cilea

Sunday, June 28 at 2 p.m. and Friday, July 3 at 7:30 p.m.

George Van Dusen Theatre, North Shore Center for the Performing Arts, Skokie

Directed by Shifra Werch

Conducted by Emanuele Andrizzi

Adriana Lecouvreur is a verismo masterpiece exploring love and rivalry within the world of the 18th-century Comédie-Française. Set at the Comédie-Française, the opera follows the celebrated actress Adriana Lecouvreur as she becomes entangled in a tragic love triangle with a noble soldier and a vengeful princess. The cast includes Zhanna Alkhazova (Adriana), Jeremy Brauner (Maurizio), Franco Pomponi (Michonnet), Viktoria Vizin (Principessa di Bouillon), Chris Filipowicz (Principe di Bouillon) and David Cangelosi (L’Abate di Chazeuil). The opera has not been staged in Chicago in more than 70 years, when legendary soprano Renata Tebaldi sang the title role.

Both mainstage productions, La Bohème and Adriana Lecouvreur, feature the Opera Festival of Chicago Orchestra and Chorus.

Cast and creative teams are subject to change. 

ABOUT OPERA FESTIVAL OF CHICAGO

The Opera Festival of Chicago is dedicated to presenting world-class productions of rarely performed Italian opera masterworks while cultivating a vibrant and accessible operatic culture in Chicago. By celebrating Italy’s rich artistic heritage and nurturing the next generation of performers, the Festival aspires to become America’s leading hub for Italian opera, bringing exceptional artistry, cultural depth and homegrown talent to the forefront of the city’s cultural landscape.

Opera Festival of Chicago performances have been broadcast on WFMT, WETA, and other classical radio stations across the United States and internationally. The company has received critical recognition from local and national media, including Opera News and Chicago Classical Review. Its production of Il prigioniero by Luigi Dallapiccola was selected by the Chicago Tribune as one of the city’s best opera productions of the year.

The world‑renowned Ensemble Español Spanish Dance Theater, in residence at Northeastern Illinois University, brings the passionate, expressive rhythms of Spain to life at the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd., in honor of their 50th Anniversary Celebration—one performance only, Saturday, June 13 at 7:30 p.m.

"As the company celebrates its golden anniversary season, we are excited to present our company of dancers and guest artists for this special concert honoring the work of our founder, our company and everyone who has made it possible for us to provide the best in Spanish dance here and around the world," says Irma Suarez Ruiz, Dame Libby Komaiko Legacy Artistic Director.

"For five decades, Ensemble Español has shared the passion, rhythm, and soul of Spanish dance with Chicago and the world, one breathtaking step at a time. Now, we invite everyone to join us as we celebrate that history and ignite the passion that will propel us into the next 50 years" added Executive Director, Jorge Perez.

Audiences will experience a special 50th Anniversary performance revival of Dame Libby's iconic critically acclaimed "Boléro," danced by the only remaining original dancers of this ballet from its premiere in 1993, Ruiz and Perez. Lively musical accompaniment will be provided for a selection of Flamenco dramas by musicians Jose Moreno (Flamenco singer, guitarist), Andrea Salcedo (Flamenco guitarist), and Enrique Chavez (percussionist). Also joining the Ensemble Español will be classical guitarist, Brian Torosian.

The program is scheduled to feature the following works
· "Amangue" (2023): The program will open with the flamenco company work set in 2023 in the Buleria style by guest artist, Isaac Tovar, former principal of the National Ballet of Spain to original musical composition by renowned guitarist Curro de Maria.
· "Escenas Villanescas" (World Premiere): This Spanish classical premiere will feature the full company in Irma Suarez Ruiz's "Villanescas" set to the music ofEnrique Granados. Special thank you to Philip and Marcia Dowd production sponsors.
· "Pasion Oculta" (2019): This contemporary work by Irma Suarez Ruiz, set to the music of the all-female electronic string quartet from London, received rave reviews in 2025 by the Chicago Tribune hailing it "Tour de force...Pasion Oculta is a modern masterpiece."
· "Antecesores/Ancestors" (2025): This company flamenco drama performed to the songs and rhythms of Seville in Andalucía, southern part of Spain, is choreographed by newly appointed Associate Artistic Director, Jose Torres. The work pays homage to those who came before us in the world of Spanish dance and music.
· "Boléro" (1993): The Ensemble Español will present the revival of Dame Libby Komaiko's full company iconic "Bolero" to the music of Maurice Ravel thanks to the generous support of friend and donor Sonia Florian 1936-2025. This work has graced some of the greatest landmark theaters and dance festivals in the world to well over one million audience members and been featured in two documentaries. The New York Times called Dame Libby's "Boléro" "amazing" and said the piece "wowed the audience" at a sold-out performance at Joyce Theater in Manhattan.

Tickets

Ensemble Español Spanish Dance Theater: 50th Anniversary Celebration is presented at the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd., 7:30 p.m., Saturday, June 13. Tickets are $45 - $65 before ticketing and online purchasing fees. To purchase tickets and for more information visit NorthShoreCenter.org or call 847.673.6300. 

Group rates are available for groups of 10 or more. Call the North Shore Center box office for group sales (847.673.6300). For more information about the show, call Ensemble Espanol at 773.442.5916 or visit EnsembleEspanol.org.

About Ensemble Español Spanish Dance Theater

The Ensemble Español Spanish Dance Theater is the premier Spanish dance company and center in the United States. The ensemble is in-residence at Northeastern Illinois University, Chicago. The Ensemble Español preserves, presents, and promotes the four styles of Spanish dance: Flamenco, folkloric, escuela bolera and classical. Founded in 1975 by Dame Libby Komaiko, and incorporated in 1976, the organization is now under the leadership of Irma Suarez Ruiz, Dame Libby Komaiko Legacy Artistic Director and Jorge Pérez, Executive Director. The company is comprised of dancers, singers, guest artists, and musicians representing a mosaic of cultures from around the world. The organization is praised by educators, arts professionals, business and government leaders, as well as arts and cultural media for its artistic excellence, cultural integrity, and of course, its commitment to arts and higher education opportunities for all.

The Ensemble appears in a broad range of television, opera, Emmy-winning documentaries, film, and symphonic formats, including with the Chicago Symphony Orchestra. It has appeared in theaters and universities in Chicago and Illinois, including the landmark Auditorium, North Shore Center for the Performing Arts, Harris Theater and Symphony Center. The Ensemble has also toured throughout the United States (including Puerto Rico and Hawaii), Canada, and internationally, performing in countries across four continents, such as Mexico, Costa Rica, Poland, Australia, China, and Spain.

Screwball comedy went the way of the dinosaur after the 1940s, but Northlight Theatre attempts to revive it with The Angel Next Door.

For those unfamiliar, screwball was a film subgenre that mixed romance, slapstick, and banter, like Mentos and Coke, and watched them explode to great effect. Stars like Cary Grant, Katharine Hepburn, William Powell, and Barbara Stanwyck delivered punchlines like a punch to the gut and made the over-the-top plotlines land with ease. A modern-day screwball comedy is a welcome idea. Unfortunately, The Angel Next Door doesn’t quite fly to its predecessors’ heights.

Written by Paul Slade Smith, this comedy was adapted from Ferenc Molnar’s Play at the Castle. It follows Oliver Adams, played by Garrett Lutz, who just finished his first novel. It’s set to be adapted for the stage by married playwrights, Arthur and Charlotte Sanders (Sean Fortunato and Katy Sullivan). They desperately need a hit after their last venture flopped, and their only hope is Oliver’s book.

Unfortunately, things don’t go as planned, and the bright-eyed, innocent author discovers that the beautiful Margot Bell (Aja Alcazar), his love and the novel’s inspiration, has been intimate with Victor Pratt (Andres Enriquez), Broadway’s favorite baritone. It’s then up to Charlotte to bring the two together before Oliver flushes his dreams – and everyone else’s – down the drain.

The Angel Next Door is a love letter to theatre, poking fun at stage tropes, breaking the fourth wall, and preaching about the importance of laughter and escapism in today’s world. In fact, by the end, an unbeliever, Olga (Erin Noel Grennan), the maid, is converted. Unfortunately, the script is so saturated with inside jokes, that the plot is only as deep as a puddle. The first act feels like one long set-up for a mediocre pay-off in the second. Much of the time is spent in exposition or watching characters react to scenes the audience watched happen moments ago.

The cast is the saving grace. The entire troupe, with the exception of Sullivan, actually performed their same parts in Peninsula Players Theatre’s 2024 production. Linda Fortunato, Peninsula’s Artistic Director, directed those performances and also directs Northlight’s version, guiding the production with confidence and clarity even though this particular script doesn’t quite rise to meet her.

Sean Fortunato and Katy Sullivan work wonderfully together as the veteran playwrights who have been through it all. Alcazar balances Margot’s ego and grace well, making it easy to understand why it was love at first sight for Oliver. Enriquez is hilarious as the dumb Victor, who is always ten steps behind everyone else and gets lost in his own reflection. Alcazar and Enriquez also have great physicality, and it was fun to watch the flair they added to simple movements, like sitting down with style or stomping their foot. Erin Noel Grennan steals every scene as the grim Olga. Her comedic timing and presence make this kooky character pop.

Ultimately, The Angel Next Door has all of the parts of a solid comedy but in the wrong proportions. For example, Olga is a crowd-favorite, but scenes would occasionally stall to give her joke after joke. Too much of a good thing is a bad thing, especially when the audience got very few interactions between Oliver and Margot, despite everyone’s future hinging on their romance.

Still, The Angel Next Door delivers an enjoyable experience, lifted by a strong cast, even if it doesn’t linger long after the curtain falls.

For more information, visit https://northlight.org/series/the-angel-next-door/.

This review is proudly shared with our friends at www.TheatreInChicago.com. 

MadKap Production’s A Streetcar Named Desire at Skokie Theatre offers a raw, riveting interpretation of Tennessee Williams’ masterpiece, immersing the audience in a world where beauty and brutality constantly collide. The production captures the oppressive heat and emotional volatility of New Orleans as Blanche DuBois arrives at her sister Stella’s modest home, clinging desperately to fading illusions while the truth she’s outrun begins to close in. Her fragile elegance crashes against the brute force of Stanley Kowalski, and the tension between them builds with an inevitability that’s both mesmerizing and terrifying. 

It’s a tension rooted not only in the room but in Blanche’s entire history. The story of a woman who stayed home to care for her parents as they died, then struggled to hold onto their home and land as medical expenses mounted and eventually forced her out into the world with “sixty‑one cents” in her purse, rings true today more than ever.

The intimacy of Skokie Theatre amplifies every emotional tremor, turning the cramped apartment setting into a pressure cooker where secrets, desires, and power struggles simmer just beneath the surface. Wonderfully directed by Wayne Mell, the staging leans into the play’s psychological depth, allowing the actors to explore the vulnerability, longing, and explosive conflict that define these characters. What emerges is a haunting, deeply felt production that honors Williams’ poetic language while making the story feel immediate and painfully human. A Streetcar Named Desire at Skokie Theatre is a resonant, beautifully acted experience that stays with you long after the final moment.

The cast delivers a richly textured, emotionally charged performance, anchored by Hailey Hance’s luminous and deeply vulnerable portrayal of Blanche DuBois. Hance navigates Blanche’s unraveling with remarkable nuance, shifting effortlessly between brittle charm, aching fragility, and flashes of desperate bravado. Elyna Mellen offers a beautifully steady counterpoint as Stella Kowalski, grounding the production with warmth and quiet strength as she’s pulled between the two people she loves most. Nathaniel Kohlmeier brings a fierce, narcissistic and unsettling magnetism to Stanley Kowalski, capturing both his brute force and the dangerous charisma that fuels every confrontation. Denis Vorobyev’s Mitch adds a welcome softness to the storm, his gentle sincerity and emotional honesty making his scenes with Blanche especially resonant.

The supporting ensemble brings texture and pulse to life in Elysian Fields, each performer adding a distinct spark to the world surrounding the Kowalskis. AJ Carchi and Wyatt DeLair charge their scenes with crisp, kinetic energy, while Neil Figuracion anchors his moments with a quiet, compelling weight. Kimmy Higginbotham and Dee Dee Logan offer nuanced, emotionally attuned work that enriches the production’s blend of tenderness, tension, and volatility. Together, the ensemble shapes a world that feels immediate and deeply human - a living, breathing testament to the enduring force of Williams’ drama.

Ultimately, MadKap’s A Streetcar Named Desire at Skokie Theatre stands as a vivid, emotionally resonant interpretation of Williams’ classic - one that feels both faithful to the text and urgently alive. The production’s intimate scale, paired with a cast willing to dig deep into the play’s bruised hearts and volatile tensions, creates an experience that lingers long after the final scene.

A Streetcar Named Desire runs through April 26th, and it’s a compelling, beautifully crafted revival well worth experiencing before the run comes to a close.

Highly Recommended.

For tickets and/or more show information, click here.

This review is proudly shared with our friends at www.TheatreInChicago.com. 

The Opera Festival of Chicago announces its sixth season with the theme Bohemian Tragedy and that tickets are now on sale for the 2026 season, June 13 - July 5.

The 2026 Opera Festival of Chicago kicks off with its leading artists in concert in Very Verismo! on Saturday, June 13 at 7:30 p.m. at the Jarvis Opera Hall at DePaul University, 800 W. Belden Ave.  

The first fully-staged opera, La Bohème by Giacomo Puccini, opens Friday, June 26 at 7:30 p.m. with additional performances Wednesday, July 1 at 7:30 p.m. and Sunday, July 5 at 2 p.m. at the George Van Dusen Theatre at the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd., Skokie.

The final production of the season is Adriana Lecouvreur by Francesco Cilea, Sunday, June 28 at 2 p.m and Friday, July 3 at 7:30 p.m., also at the George Van Dusen Theatre at the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd., Skokie.

Press release, images and headshots here: https://drive.google.com/drive/folders/1RDBX-1yxprtvF9XogxojSb7O0RCFVfHk?usp=sharing

More information here: OperaFestivalChicago.org

There’s an old adage that says something along the lines of “don’t judge a book by its cover.” The same wisdom can most certainly be applied to playbills. More often than not the title of a musical describes exactly what the theatre piece will be about; Hamilton is about Alexander Hamilton, Annie is about an orphan girl named Annie, Wicked is about, you guessed it, a wicked witch. Following this same logic you think I’d have known what Godspell would be about prior to seeing the show. But I, ironically, judged incorrectly and found myself judged. Having heard the name in musical theatre circles and knowing it was a Broadway darling for years, I was genuinely surprised to find that Godspell was not some spooky musical about casting spells or witchcraft and wizardry but a musical based upon the gospel according to St. Matthew. Boy did I judge that book by its cover.

Godspell is a musical based on the Gospel of Matthew, which tells the story of Jesus through a modern-day group of non-Biblical characters symbolizing his "disciples" who enact his parables through song, dance, and comedy. This production of Godspell finds a fractured and disconnected community gathered at a local coffee shop discovering the transformative power of forgiveness and embracing radical love.

Like any theatrical experience patrons must have a willing suspension of disbelief. There is a burden to check all preconceived biases at the door and allow themselves to be immersed into another world for a few short hours. That’s where the magic of theatre resides, with oneself. For the first act of Godspell, I regrettably did not suspend my disbelief. I found myself resistant to the words, given they were word for word from the Gospel of Matthew. Bearing in mind I had not researched the play nor even studied the synopsis, merely checking off the show from my musical theatre bucket list, I went into the theatre not knowing anything about this play. Two songs in and I found myself not in a cushioned theatre seat but in a hardbacked pew, wondering how everyone around me was smiling and laughing while I sat questioning what was going on and pointing out hypocrisies and double-standards. Godspell is nearly word-for-word the gospels and include infectious pop and rock songs like “Day by Day,” “Prepare Ye the Way of the Lord,” “O Bless the Lord My Soul” that one might hear in any new age church. I felt myself rejecting the play, the words that were being said, the songs that were being sung, even wondering how so many people in the audience knew the play word-for-word, bar-for-bar. Surely this is just propaganda? Surely this is some kind of joke. But then it hit me. I’m being critical in the worst way. I’m judging this book by its cover. I allowed my preconceived biases to blind me of the possibility of a great show. I quickly cast away my disbelief.

Godspell was phenomenal. Debuting in 1970 with music and lyrics by Stephen Schwartz, the musical has been a consistent success, even becoming a major motion picture staring Victor Garber as Jesus. Music Theater Works’ version, directed by Matthew Silar, choreographed by Amanda Hope and music directed by Justin Kono, modernizes the play in a way that is not pandering or patronizing. Rather it weaves the play’s central theme and message with real people, quick witted humor, exceptional improv, and genuine love and care. While the context of the play can be preachy and heavy handed, as the Bible tends to be, this production is surprisingly light thanks to local Chicago talent like Jacob Simon as John the Baptist, Tafadzwa Diener, Dani Pike, and Ben Woods as the café community members. The intentional care and lightness the cast bring to their performances make you forget you’re listening to preachy gospel. You’re not being preached to, rather, you’re following skeptical and reluctant patrons find meaning in the words spoken at the open mic night by Jesus himself, exceptionally played by Eldon Warner-Soriano, and experiencing the lessons through clever and well-timed improv. Coupled with the talented cast, Silar’s version of Godspell strips away the heavy handedness, allowing the cast of characters to be their goofy-sometimes-awkward-yet-no-less-hilarious selves while still delivering impactful messages about loving your neighbor and forgiving others as you would want to be forgiven. It’s clear the cast and crew checked any preconceived biases at the door when staging this musical. Were one to have no prior knowledge of the Bible, the gospels, or religion itself, they’d find themselves immersed in a world of good words and teachings of love and acceptance one could find in dozens of books from Harry Potter to The Song of Achilles.

In today’s political and cultural climate, Godspell is a risky choice to put on. It was easy to allow that thin magical line between the real world and theatre to blur. It was easy to bring the real world with me when I ventured into the theatre. It was even easier to be stubborn and reject something simply because I don’t like how some people interpret, use, or weaponize the gospels. Personally, I think those very same people would do well to suspend their biases and see Godspell and be reminded about the true meaning and purpose of the very book they preach about. That being said, I think putting on Godspell in today’s political and cultural climate is not only important, it’s essential. The content of the play and Silar’s beautiful production will no doubt being necessary dialogue and spark conversation and ask audience members to reflect on the play vs. their defined ideals. Godspell is just a story of a man, told through the eyes of another man, and performed by exceptionally talented individuals. Or is it something more? Was this play preachy or did it have some real-life lessons and messages to take away? Do I reject the play or do I reject how others interpret the context behind the play? Am I being critical or skeptical? Hypocritical even? Hell, soon we’ll all be flocking to theatres to see a cinematic production about a wicked witch and will probably have very little issue suspending our disbelief as we watch a witch flying on a magical broomstick with her army of flying monkeys. So I implore everyone to keep that same energy when viewing this production of Godspell. At the end of the day, it’s just a show, and gods know we can all use a bit more magic in our lives, even if it limited to the theatre.

Godspell is presented by Music Theater Works and is sponsored by the Whirled Peas Foundation and presented in partnership with Curt’s Café. It is playing now through November 16^th at The North Shore Center for the Performing Arts in Skokie (9501 Skokie Blvd, Skokie). Tickets are now on sale from $19.50 to $106 with tickets for guests 25 years old and younger available at half-price at MusicTheaterWorks.com or by calling the Music Theater Works box office at the North Shore Center, 847.673.6300.

Do we ever really know what someone is going through? We devour what people create, savoring the beauty in their art; we read the words they write, feel the emotions they convey, listen to the music they play, but do we really know what is just beneath the surface? One is left asking this question after viewing the masterpiece that is Twisted Melodies now playing at Northlight Theatre.

Flashback to 1979, when singer and composer Donny Hathaway was a soul music icon, known for R&B hits and his duets with Roberta Flack. Twisted Melodies is a mesmerizing one-man show that immerses us in a day with the brilliant artist, who seeks solace in the music that has always been his salvation. Powerful renditions of songs like “More Than You’ll Ever Know,” “The Ghetto,” and “The Closer I Get to You,” illuminate the enduring power of this talent. Torn between inspiration and his ongoing inner struggle, Hathaway grapples with his life in a gripping performance by Kelvin Roston Jr.

Unlike jukebox musicals that celebrate the life and music of the artist it portrays (think Jersey Boys about the Four Seasons or Just In Time about Bobby Darin), Twisted Melodies offers a new approach to viewing Hathaway’s life and career. We’re with Donny as he isolates in a hotel room, recording music. We learn about his life through captivating stories told from the first-person perspective. We hear his music sung by Hathaway as he recalls the people or events in his life that inspired the songs. We experience, even momentarily, what Donny must have experienced in his life, living with schizophrenia with visual distortions and haunting voices. The first-person storytelling of Hathaway’s life reveals the man behind the artist we know, his personality, his solace, and his demons. The play is not only an homage to the singer-songwriter’s life. “Twisted Melodies is a labor of love,” says playwright and performer Kelvin Roston Jr. “It’s much more than a solo jukebox musical. I chose Donny Hathaway as my muse for his amazing music and musicianship, yes, but also because of his struggle with paranoid schizophrenia. We generally ignore, make excuses for, hide, or even make fun of those dealing with mental illness. Donny Hathaway left an incredible amount of himself and his struggles in the lyrics he wrote, the notes he played, and the tones he bent and swelled with as he sang.”

Twisted Melodies perfectly captures the beauty and struggle of the late artist, and Roston Jr. belts Hathaway’s ballads with such reverence and respect, creating beautiful harmonies and scales that tickle your brain as beautifully as Roston Jr. tickles the ivory, playing throughout the one-man show. Roston Jr.’s tones and range capture the fire and the fury of Hathaway’s genius, challenging the audience to see beyond the notes and see what the artist was going through on that fateful night in 1979. Donny Hathaway tragically passed away at only 33 years old in a rumored solo exit performance of his own. The Chicago-born artist left behind a legacy that influenced or inspired dozens of modern-day artists, including Elton John and Amy Winehouse. Hathaway was even named the 49^th-greatest singer of all time in a 2010 list published by Rolling Stone Magazine.

It's tragic how we often don’t know what someone is going through until after the person is no longer with us, particularly when it comes to something like mental health. But what a blessing it is to know that a story like Twisted Melodies can help to remind us that we’re all going through something. Like Donny Hathaway, we can find our solace, our stories, and ourselves in the things we create, using our art to help others understand what we are going through. Twisted Melodies runs through August 10^th at Northlight Theatre (9501 Skokie Blvd, Skokie). Tickets for Twisted Melodies are available at www.northlight.org

It’s still fairly early in the evening. At this point, the turkey is in the oven, and Jane and Luna are each a couple sips into their bottle of wine. Conversation is nervous. The two women still do not know each other too well, and while Luna is ready with her conversation starters, Jane remains more hesitant. They don’t quite know where to sit, and while they can tell the other feels awkward, neither knows how to comfort the other.

Then, the subject of music comes up. Not only do they both enjoy disco, but it becomes clear that they both love to dance. Luna runs to get the radio and upon finding the right station, the entire mood shifts. Luna begins a dance step – inviting Jane to follow. Then it’s Jane’s turn to lead, and the two continue to switch off – each inviting the other to meet their level of silliness and joy. As the two laugh and dance, it becomes clear they finally found the push they needed. Now that the ice is broken, a friendship can truly blossom. The audience at this performance was laughing right alongside the actors – making it clear that the fun was spreading and we as witnesses were ready to see this friendship succeed.

Written by Lloyd Suh, The Heart Sellers takes place on Thanksgiving of 1973 – inspired by the Immigration Act of 1965 (or the Hart-Celler Act). Luna (Aja Alcazar) and Jane (Seoyoung Park) are recent immigrants, having moved to the United States with their husbands who are forever busy with their residencies at the hospital. Alone on this holiday, Luna invites Jane on a whim to her apartment – where they share a bottle of wine and attempt to cook a frozen turkey. Over the course of the story, we witness these strangers begin to bond. While the conversations begin hesitantly, the two slowly open up. As they slowly transition from conversations about their workaholic husbands to deeper reveals of dreams and hopes for the future, you might just find it’s impossible not to lean in and share that joy alongside them.

Skillfully directed by Helen Young, the production is intimate and full of good humor. Young’s artistic team does a stellar job extending that charming energy throughout the theater. Scenic Designer John Culbert welcomes the audience into Luna’s small, colorful apartment. With the close-knit feel of Northlight’s space, it’s hard not to feel like you are in the apartment alongside the women – which is certainly ideal for a two-hander like Suh’s play.

At its heart, this is a story about a blossoming friendship, and the artistic team focuses their designs on highlighting the women at the center – making it easy to enjoy the genuine chemistry between these two talented actors. As much as this production is full of warmth, the story carries its heavier moments – particularly as the women discuss their challenges around coming to a new country and leaving their families behind. Alcazar and Park move through these ups and downs with grace, creating an emotional roller coaster that you might find sneaks up on you as you realize how invested you are in the story. 

Standout performances and a moving script alone make The Heart Sellers an enjoyable evening at the theater. Given the current backdrop that currently lives in our country, you might also find that this Suh’s exploration of an important moment for immigration also makes the production a potent and relevant one.

RECOMMENDED

The Heart Sellers runs through February 23 at Northlight Theatre – 9501 Skokie Boulevard. See the Northlight Theatre website for more information regarding tickets.

Unlike many of the shows I review, which I’ve often seen in other productions elsewhere, I went into Music Theater Works’ current production of Legally Blonde blind. Other than the couple-decades-old movie the musical is based on, along with a covid-era TikTok fascination that my daughters had with a particular song from the show, I knew nothing about it. That’s always kind of refreshing, isn’t it?

Well, I went into the North Shore Center—always an enjoyable place to see a show—pretty much clueless and I left entertained.

You can tell director Mandy Modic has a real knowledge of, and love of, the source material and the show. Everything is thoughtfully laid out and beautifully executed. This is a put together show, just like the main character, Elle Woods.

Kayla Shipman, starring as Elle, has high heels to fill but she fills them well. As Elle grows and learns about herself, Shipman’s performance becomes more confident and assertive as the show progresses, making this the Y2K roman a clef the story calls for. The supporting cast sings, dances, and acts as Elle takes her journey—filling the show with the memorable people she meets. Korey White looms over proceedings as authoritative and suspect Professor Callahan. Amanda Handegan’s fitness-queen-turned-accused-murderess Brooke Wyndam brings us back to the days of the aerobics DVDs she’s shilling—before launching the show’s uproarious second act with an orange-is-the-new-black prison jump rope number. And Khaki Pixley’s hairdresser Paulette Buonofonte takes us to a whole other world every time we enter her salon, a realer world far from snooty tweed higher education or Greek life.

Each of the worlds we enter in this show are beautifully created by Scenic Director Shane Cinal. From Elle’s sorority house to the hallowed halls of Harvard to Paulette’s beauty parlor, each set pops visually and transports the audience.

But, like many good shows, it’s the ensemble that makes this one. Each and every member of this cast gives it their all. From sorority sister singalongs to a Greek chorus, from folks getting perms to a courtroom full of plot twists, the ensemble created each scene and populated it with movement, humor, talented vocals, and humanity. And each member received their moment to make the audience hoot and holler—with Isaiah Engram’s deliveryman Kyle getting the most hoots.

The movement of the show is thanks to the ensemble’s talent, but also features wonderful choreography by Mollyanne Nunn—she puts all of this talent to work in dance after dance and showtune after showtune, filling the stage and catching our eyes from every part of it.

Oh, and that TikTok song I mentioned before? That’s here, too. Morgan Schoenecker leads Elle and the ensemble through the “Bend and Snap,” and the number hasn’t lost any of its charm—for the audience or for the aforementioned daughter who was watching Legally Blonde with me.

Like other shows I’ve seen at Skokie’s North Shore Center, this was a thoroughly enjoyable production. Music Theater Works and Mandy Modic take their audience back two decades to tell us a timeless tale, one you’ll find in Legally Blonde, playing now until December 29.