Displaying items by tag: Chicago events

A bold story about the controversial creation that reshaped women’s lives is the focus of The Birth of the Pill, a world premiere play launching TimeLine Theatre’s 30th Anniversary season in September. 

The Birth of the Pill —by playwright Jessica Huang, based on the book by Pulitzer Prize-winning Chicago author Jonathan Eig (King: A Life), directed by Sandra Marquez—is an eye-opening story about science, power, and the women who paid the price for progress. Commissioned and developed by TimeLine Theatre, this highly anticipated world premiere is the opening production of the company’s inaugural, four-show season at its new home in Chicago’s Uptown community.

Previews of The Birth of the Pill start September 2. Performances run through October 4 at TimeLine Theatre, 5035 N. Broadway (at Argyle) in Uptown. Single tickets go on sale July 21. For tickets and information, call the TimeLine Box Office at (773) 281-8463 x1 or visit timelinetheatre.com.

TimeLine looks forward to bringing this chapter of global history to its stage and is ready to probe the play’s urgent questions about consent, sacrifice, and the complicated cost of social change. The Birth of the Pill begins in the mid‑20th century as a radical dream begins to take shape: a simple pill that would give women full control over their reproductive futures. Championing this groundbreaking idea are feminist activist Margaret Sanger, scientist Gregory Pincus, gynecologist John Rock, and philanthropist Katharine McCormick—visionaries working under intense secrecy amid legal, scientific, and religious roadblocks. Meanwhile, in Puerto Rico, clinical trials place the burden of experimentation on women like Ramona Delgado, whose lives and bodies become entangled in the quest for scientific advancement.

Audiences will be hard-pressed to recall another play that interacts with its source material quite like The Birth of the Pill. Huang calls it “a play in conversation with the book by Jonathan Eig,” offering a fresh, critical look at how the book holds up 14 years after publication, after the overturning of Roe v. Wade in 2022, and amidst the current cultural and political climate of the United States.

“I’m excited almost beyond words to see The Birth of the Pill on stage,” said Eig. “Jessica Huang’s play is a whole new thing—not so much an adaptation as a reinvention. I feel like the book had a baby, and the child is more brilliant and beautiful than I ever could have dreamed. I can’t wait for everyone to see it.”

Published in 2014 by W. W. Norton, Eig’s book The Birth of the Pill was hailed as “one giant leap for womenkind” by The Guardian and named a “Best Book of 2014” by the Chicago Tribune. Eig’s subsequent biography of Martin Luther King Jr., King: A Life, won the 2024 Pulitzer Prize for biography. His biography of Muhammad Ali, Ali: A Life, won the PEN/ESPN Award and inspired a documentary by Ken Burns, for which Eig served as consulting producer. Other literary works include Get Capone, Opening Day, and The Luckiest Man. Eig (jonathaneig.com) confirms this is his first involvement in theatre since he played trumpet in the pit orchestra for Brigadoon at Spring Valley High School. He and his wife, Jennifer Tescher, are longtime TimeLine Theatre subscribers.

“Befitting TimeLine’s mission, The Birth of the Pill is a story that transcends time—exploring the quest to invent the birth control pill, the struggles, controversies, and harm caused by its creation and clinical trials, and all the history that continues to unfold since. We can’t wait to bring this play to Uptown to launch the inaugural season in our new home,” said TimeLine Theatre Artistic Director PJ Powers.

“We’ve been great admirers and friends of Jonathan Eig for many years, and I began talking with him more than a decade ago about adapting one of his many tremendous books into a play,” Powers added. “The Birth of the Pill quickly became that passion project for TimeLine, among his lauded body of work, and we were thrilled to commission Jessica Huang, a playwright whose skill, craft, and unique voice had already captured our great interest. The pairing of Jessica and Jon—and the invaluable leadership of director Sandra Marquez—has been one of the most inspiring collaborations I’ve witnessed in TimeLine’s 30 years. Jon has been a generous contributor, sharing his depth of research, while also being an enthusiastic cheerleader for Jessica to create a piece of theatre in her own voice, and for this moment, distinct from when and how the book was first written.”

“The play is an adaptation, but also an addition to Jon’s book,” agreed Huang. “For me, the story of the Puerto Rican women who were coerced to participate in clinical trials is not only a crucial piece of our history, it is actually the center of this story. So while the play is a faithful adaptation, it is also a retelling that challenges his book, adds to his book, and collaborates with it. Sort of like my friendship with Jon, which became a part of the play as well.”

The commission and development of The Birth of the Pill was supported in part by the Joseph and Bessie Feinberg Foundation.

PERFORMANCE SCHEDULE

Previews of The Birth of the Pill are Wednesday, September 2; Thursday, September 3; and Friday, September 4 at 7:30 p.m.; Saturday, September 5 at 2 p.m. and 7:30 p.m., Sunday, September 6 at 2 p.m.; and Tuesday, September 8; and Wednesday, September 9 at 7:30 p.m. Opening Night is Thursday, September 10 at 7:30 p.m. Regular performances continue through October 4: Wednesday, Thursday, and Friday at 7:30 p.m.; Saturday at 2 p.m. and 7:30 p.m.; and Sunday at 2 p.m. Exception: No 7:30 p.m. on Saturday, September 12.

BUYING TICKETS

Single tickets to The Birth of the Pill, priced $40–$100, go on sale July 21. For tickets and information, visit timelinetheatre.com or call the TimeLine Box Office at (773) 281-8463 x1. 

Preview tickets are $40 - $63. Single tickets to regular performances are $65 - $100. Prices vary based on performance date and seat location. 

Pay What You Will pricing is available for these previews: Thursday, September 3 at 7:30 p.m.; Friday, September 4 at 7:30 p.m.; and Saturday, September 5 at 7:30 p.m. Student discount to all performances is 35% off regular price with valid ID. TimeLine is also a member of TCG’s Blue Star Theatre Program and is offering $30 tickets to U.S. military personnel, veterans, first responders, and their spouses and family. 

All listed prices are inclusive of fees.

Ticket buyers ages 18-35 may join TimeLine’s free MyLine program to obtain access to discounted tickets, special events and more. Discounted rates for groups of 10 or more are also available. Visit timelinetheatre.com/discounts for more about available discounts.

LOCATION/PARKING/TRANSPORTATION

TimeLine’s new home is located at 5035 N. Broadway (at Argyle) in the heart of Chicago’s Uptown community.

TimeLine Theatre is easily reached via public transportation, located steps away from the CTA Red Line stop at Argyle. The #36 Broadway bus stops at Broadway and Argyle, the #151 Sheridan stops three blocks east at Argyle, and the #81 Foster stops at Broadway and Foster, just two blocks north.

Convenient parking is a new hallmark for TimeLine Theatre. The self-park garage at 5051 N. Broadway, two doors north of the theatre, offers up to 6 hours of parking for $10, with validation. Ask for a validation sticker from TimeLine’s Audience Services staff. The self-park surface lot at 5017 N. Winthrop in the heart of Asia on Argyle also offers discounted parking for up to 6 hours for just $7 via an app and QR code.

Nearby street and metered parking is available but limited. Please note some streets are zoned for resident parking only. Visit timelinetheatre.com/venues/timeline-theatre for additional information, including driving directions and nearby dining recommendations.

DISCUSSIONS

Pre-Show Discussions: Starting one hour before the performance, a 30-minute introductory conversation will be hosted by a TimeLine Company Member and the dramaturg on Wednesday, September 16.

Post-Show Discussions: A brief, informal post-show discussion hosted by a TimeLine Company Member and featuring the dramaturg and members of the production team on Thursday, September 17; Sunday, September 27; and Thursday, October 1.

Company Member Discussion: A post-show discussion with the team of artists who choose TimeLine’s programming and guide the company’s mission on Sunday, September 13.

Sunday Scholars Panel Discussion: A one-hour panel discussion featuring experts on the themes and issues of the play in a moderated discussion, following the performance on Sunday, September 20.

All discussions are free and open to the public. 

ACCESSIBILITY

Captioned Performances: Open-captioned performances with a text display of words and sounds heard during performances are Friday, September 25 at 7:30 p.m. and Saturday, September 26 at 2 p.m.

Performances featuring audio description and ASL interpretation are to be announced.

TIMELINE’S INAUGURAL 2026-27 SEASON AT ITS NEW HOME IN UPTOWN

Following The Birth of the Pill, TimeLine Theatre’s 30th Anniversary, four-show season continues with:

• The Chicago premiere of the Olivier Award-winning Home, I’m Darling by Laura Wade, directed by TimeLine Company Member Mechelle Moe—a sharp, dark comedy examining nostalgia, marriage, and the seductive fantasy of a “simpler” past (November - December 2026).

• The Chicago premiere of The Far Country by Lloyd Suh, directed by TimeLine Company Member Helen Young—a sweeping immigration epic and 2023 Pulitzer Prize finalist exploring identity, sacrifice, and generational resilience in the shadow of exclusionary U.S. policy (February - March 2027).

• Merrily We Roll Along, music and lyrics by Stephen Sondheim, book by George Furth, based on the original play by George S. Kaufman and Moss Hart, directed by TimeLine Associate Artistic Director Nick Bowling with music direction by Otto Vogel—a Tony Award–winning musical unfolding in reverse, tracing the shifting relationships and ambitions of three friends over two decades (April - May 2027)

See it for yourself … from the best seats in the house! Save up to 25% off regular ticket prices and enjoy ultimate flexibility, priority access, and preferred reserved seating with a TimeLine FlexPass. Four options, priced from $189 to $389, are now on sale. MyLine FlexPasses (exclusively for patrons age 18-35) are also available for $85 (after enrolling in TimeLine’s free MyLine program). For more information and to purchase, call (773) 281-8463 x1 or visit timelinetheatre.com.

IT’S TIME: ABOUT TIMELINE’S NEW HOME

In 1997, six graduates of The Theatre School at DePaul University each pitched in $50 to launch a new theatre company focused on plays inspired by history that connect to today’s social and political issues. Over 30 years, largely operating out of a modest, 99-seat black box theater in a Lakeview East church, TimeLine grew to be a vital force in Chicago’s arts scene.

Building on this legacy, after nearly eight years of preparation including approximately 18 months of construction, TimeLine Theatre successfully repurposed a 1910s Reebie and Brother warehouse in Chicago’s Uptown community into a vibrant new cultural destination and the city’s newest live theater space.

TimeLine Theatre’s new home spans five stories and 33,600 square feet, combining 21,000 square feet of new construction with 12,600 square feet of adaptive reuse of portions of the former warehouse. Today, 5035 N. Broadway is home to a new, flexible, intimate 250-seat black box theatre that can be re-imagined for every show; exhibit galleries that enhance the production experience; dedicated space for Living History students, education programming, and community gathering; expanded social spaces, including a bar and café with patio; a spacious and visible rehearsal room that invites a view of the art as it’s being made; and office and production space for TimeLine’s growing staff.

TimeLine’s sleek facade brings new visual excitement to the Broadway streetscape with a 40-foot vertical blade marquee inspired by historic marquees in the neighborhood, including the Uptown Theatre and Aragon Ballroom. A green storefront canopy nods to nearby Uptown landmarks including Sun Wah BBQ and the Green Mill. A prominent glass curtain wall completes the Broadway facade, providing dramatic views into interior spaces that highlight the cultural activity inside.

Since launching It’s Time: The Campaign for TimeLine’s New Home, TimeLine has successfully raised more than $43 million toward the approximately $46 million project cost, including $12.9 million in public support ($2.9 million from the State of Illinois, $10 million from the City of Chicago), and funds from more than 200 generous individual donors. 

ABOUT TIMELINE THEATRE COMPANY

TimeLine Theatre Company, recipient of the 2016 MacArthur Award for Creative and Effective Institutions, was founded in 1997 with a mission to present stories inspired by history that connect to today’s social and political issues.

Now celebrating its 30th Anniversary Season, TimeLine has presented 98 productions, including 16 world premieres and 44 Chicago premieres, and launched the Living History Education Program, which brings the company's mission to life for students in Chicago Public Schools. Recipient of the Alford-Axelson Award for Nonprofit Managerial Excellence and the Richard Goodman Strategic Planning Award from the Association for Strategic Planning, TimeLine has received 64 Jeff Awards, including an award for Outstanding Production 11 times.

TimeLine is led by Artistic Director PJ Powers, Executive Director Mica Cole, and Board President Anne Voshel. TimeLine Company members are Will Allan, Nick Bowling, Janet Ulrich Brooks, Behzad Dabu, Charles Andrew Gardner, Lara Goetsch, Juliet Hart, Anish Jethmalani, Mildred Marie Langford, Mechelle Moe, David Parkes, Ron OJ Parson, PJ Powers, Maren Robinson, and Helen Young.

Major corporate, government and foundation donors providing season support via TimeLine’s Annual Fund include Abe and Ida Cooper Foundation, Bayless Family Foundation, Crown Family Philanthropies, HGA, John D. and Catherine T. MacArthur Foundation, Joseph & Bessie Feinberg Foundation, Laughing Acres Family Foundation, Lloyd A. Fry Foundation, Paul M. Angell Family Foundation, Polk Bros. Foundation, The Service Club of Chicago, The Shubert Foundation, Van Dam Charitable Foundation, and Walder Foundation. Major supporters of TimeLine’s Sustainability Fund include The Madge Goldman Foundation, The Passionflower Foundation, The Pritzker Traubert Foundation, and Anonymous. TimeLine also acknowledges support from the Illinois Arts Council Agency and the Illinois Department of Commerce and Economic Opportunity.

For more information, visit timelinetheatre.com, or Facebook or Instagram (@TimeLineTheatre on both platforms).

Nothing Without a Company (NWaC) is proud to announce five performances of The Trouble With My Hair: Coloring, Cutting, and Coming into Who I Am. This is a solo performance, written and performed by award-winning storyteller Ada Cheng, which intimately explores gender, sexual identity, and boundary-making through her evolving relationship with her hairstylist and her hair. The production will have five performances across Chicago. Friday August 21st, 7:30 PM at Scissor & Fork, 3968 North Elston Ave. Saturday August 22nd, 7:30 PM at Visceral Adventure Lounge, 3638 W Grand Ave. Sunday August 23rd, 7:30 PM at REM Salon, 3035 W Fullerton Ave. Saturday August 29th, 7:30 PM at Haibayo, 1132 W Argyle St. Sunday August 30th, 1:00 PM at The Center on Halsted, 3656 N Halsted St. Each performance will be followed by a Q&A discussion. August 30th performance will end with a reaction piece by Stir Friday Night, along with a reception catered by Krung Thep Thai Cuisine, 3205 N Halsted St, Tickets range from $15.00 - $50.00 and are available at NothingWithoutaCompany.org.

This production is supported by Crossroads Fund. 

NWaC is accepting submissions for Chicago-based Guest Artists through July 19, 2026. 

History of The Trouble With My Hair: Coloring, Cutting, and Coming into Who I Am.

The performance is developed with and directed by Jessica Lynn Johnson, an award-winning director and solo show development expert known for shaping compelling, authentic solo works. "Ada is a brilliant and gifted storyteller. Gentle, perfectly paced and warmly welcoming in her sweetly sarcastic way. The writing is magical. Evocative, sensual and human." -Samantha Simmonds-Ronceros of NoHo Arts District. Ada has performed The Trouble With My Hair nation-wide, including the Asheville Fringe Art Festival, was an official selection of the Soaring Solo Studios Stars Series 2025, and she continues to have more shows throughout the year in and out of the country.

Synopsis:

The Trouble With My Hair: Coloring, Cutting, and Coming into Who I Am, is an intimate exploration of gender, sexual identity, and boundary-making through Ada's evolving relationship with her hairstylist and her hair. Blending narrative art and theatrical storytelling, Ada Cheng playfully brings her audience on a journey of self-discovery and self-love through her struggles with hair. From early memories of negotiating belonging to courageous acts of boundary-making in adulthood, Cheng uses her changing hairstyles and haircolors as milestones marking her path toward self-definition. Each cut, color, and conversation becomes a metaphor for reclaiming voice and visibility in a world eager to define her first.

"Hair is never just hair, It holds our histories, our rebellions, our identities, our desires to belong, and our declarations of independence. This show is about coming home to oneself and learning to love the person underneath it all." - Ada Cheng

Writer and Performer Bio 

Dr. Ada Cheng is an award-winning storyteller, solo performer, and producer. Committed to amplifying and uplifting marginalized voices, she has created numerous storytelling platforms for BIPOC and LGBTQIA community members to tell difficult and vulnerable stories. She has consistently engaged in public education and public outreach through the use of storytelling and performance arts. Since 2016, she has toured her solo performances Not Quite and Loving Across Borders nationwide, presenting at universities, theaters, and conferences. She premiered her third solo performance, The Trouble with My Hair, in Los Angeles in October 2025 as part of Soaring Solo Studios' Stars Series. She has been a speaker with the Illinois Humanities Road Scholars Speakers Bureau since 2019. Dr. Cheng was named the 2023–24 Lund-Gill Endowed Chair at Dominican University and was a recipient of the 2024 Public Humanities Award from Illinois Humanities. 

Artistic Director's Note

Hannah Ii-Epstein "My relationship to my hair is personal. I come from mixed lineages, and it has always felt like hair-itage, something that carries different parts of me at once. It holds memories of family, culture, identity, and how I have grown into myself over time. What I appreciate about Ada Cheng's work is how honest it is, and how it leaves room for people to recognize themselves.

We are bringing the performance into five hair salons and gathering places because I want people who might not usually see theatre to be able to walk into it easily, and to leave room for conversation in each neighborhood. This is Ada's personal story, but I also see it reflecting experiences shared across the area. It feels rooted in places where those stories already live. I also wanted each of these gatherings to feel like a conversation, so NWaC has invited artists whose work sits with memory and lived experience to be part of it. For the closing performance, we're really glad to be in conversation with Stir Friday Night, the longest running AAPI improv team in Chicago."

Nothing Without a Company has also updated their mission & vision statements.

New Mission: "Nothing Without a Company (NWaC) utilizes theatre and film to amplify culturally inclusive stories by immersing audiences in site-specific environments."

New Vision: "To create a safe space where everyone feels welcome, highlighting authentic stories about LGBTQIA+, Women, Trans and Gender Nonbinary/GNC, AANHPI and BIPOC communities."

Website: www.nothingwithoutacompany.org

Facebook: www.facebook.com/NothingWithoutACompanyChicago

Instagram: www.instagram.com/nothingwithoutacompany

Over the course of one night, through a haze of tequila, texting, and Taylor Swift, three teenagers banter, bicker, and push each other to the edge of danger — with consequences that could prove lethal. 

Theater Wit presents the Chicago premiere of Adolescent Salvation, L.A. playwright Tim Venable’s audacious new play that dares to portray adolescence in all its abundance of contradictions: sloppy, raw, and deeply human. Performances are August 14-October 3.

Adolescent Salvation begins light and funny, then shifts into something far darker, its tonal shifts as natural as the mood swings of youth. Critically acclaimed in its L.A. world premiere in 2025, Stage and Cinema wrote Adolescent Salvation "lurches, it burns, it contradicts itself — alive in ways most new plays are not." StageScene LA called it “one humdinger of a stunner.”

Adolescent Salvation marks the Chicago debut for playwright Tim Venable. Originally from Iowa, and a graduate of Illinois State University, he is an L.A. writer/ director/actor/producer. His other plays include Baby Foot, The Beautiful People, Blue Roses and Crystal Gayle is a Beautiful Lady. 

Guillermo Cienfuegos (the directing pseudonym of L.A. actor Alex Fernandez) staged the world premiere of Adolescent Salvation at Rogue Machine Theatre, where he is Artistic Director, in November 2025. Under both names, he has had an extensive 30-year career as a director and actor in theater, television, feature films and voice over. Cienfuegos returns to helm this second staging of Adolescent Salvation.

Theater Wit’s cast features Brandon Joseph Acosta as Taylor (M), Piper Jean Bailey as Natasha, Jordan Levene as Taylor (F) and Maura Kidwell as Victoria.  Designers include Jonathan Berg-Einhorn (set), Josephine Everett (costumes), Ellie Fey (lights), AnnaMae Durham (props), Daniella Brown (sound) and Sarah Scanlon (intimacy).  Drew Donnelly is production stage manager. Matthew R. Chase is production manager.

Adolescent Salvation is another Theater Wit production sure to spark conversation and linger long after the curtain. Previews are August 14-23: Thursday, Friday and Saturday at 7 p.m.; Sunday at 2 p.m. Press opening is Monday, August 24 at 7 p.m. Performances run through October 3: Thursday, Friday and Saturday at 7 p.m.; Sunday at 2 p.m. Exception: No show Thursday, August 27. Tickets are $18-$46. Run time is ninety minutes, no intermission. Purchase tickets at theaterwit.org, by calling (773) 975-8150, or in person at the Theater Wit box office. Be advised: Adolescent Salvation contains material that might be challenging for some viewers. For more, look for a link to spoilers on the show web page.

Theater Wit is located at 1229 W. Belmont Ave., in the Belmont Theatre District in Chicago’s Lakeview neighborhood. Convenient parking is available for $10 across the street from the theater in the lot behind Kubo restaurant (pay at the Theater Wit box office.) Neighborhood street parking is available, as are private paid lots (tip: book ahead and at a discount with SpotHero). Theater Wit is also accessible via the CTA 77 Belmont bus, and is three blocks west of the CTA Belmont Red/Brown/Purple line stop. To learn more, visit theaterwit.org or follow the company on Facebook or Instagram. 

Following Adolescent Salvation, Theater Wit’s four-play, 2026-27 season continues with the return of its holiday season smash hit Who’s Holiday!, and the Chicago premieres of Dead Outlaw, book by frequent Wit collaborator Itamar Moses, in a co-production with Porchlight Music Theatre, and Joshua Harmon’s latest work, We Had a World. Purchase tickets at theaterwit.org, call (773) 975-8150, or purchase in person at the Theater Wit box office. 

Better yet, a great way to support Chicago’s storefront theater scene is to purchase a Theater Wit Membership. The monthly fee is just $35, often less than the price of a single ticket, $25 for students and $62 for a dual membership. For that, members see as many shows as they want on the company’s three stages – Theater Wit productions, resident, and visiting companies – year round. Sign up at theaterwit.org/boxoffice/membership.

In addition to Adolescent Salvation, visiting companies opening shows soon at Theater Wit include Nova Entertainment’s Hail Mary/Maria, August 14-22; Black Cat Theatre’s Elephant in the Room, August 28-September 13; and Water People Theatre’s Muses, September 1- 27.

About Theater Wit, Chicago’s “Smart Art” theater

As a production company, Theater Wit is the premier smart art theater in Chicago, producing humorous, challenging, and intelligent plays that speak with a vibrant and contemporary theatrical voice. As an institution, Theater Wit seeks to be the hub of the Chicago neighborhood theater scene. Led by Artistic Director Jeremy Wechsler, Wit brings together Chicago’s best storefront theater companies in its three, 99-seat spaces, where audiences find a smorgasbord of excellent productions, see the work of a parade of talented artists, and mingle with audiences from all over Chicago.

In Fall 2025, Theater Wit received a three-year, $600,000 grant from the Paul M. Angell Foundation in support of Theater Wit’s Shared Spaces program, which empowers the artistic work of independent itinerant theater producers through subsidized, affordable space rentals and tailored production, accessibility and administrative support.

To learn more, visit theaterwit.org or follow the company on Facebook or Instagram.

Northlight Theatre, under the direction of Artistic Director BJ Jones and Executive Director Timothy J. Evans, opens its new theater in Evanston with The Front Page, Jeffrey Hatcher's world premiere adaption of the rapid-fire classic comedy that also inspired the 1940 film His Girl Friday. The play, based on the original by Ben Hecht and Charles MacArthur and directed by Artistic Director BJ Jones, runs September 9-October 18, 2026, at the company's new home at 1012 Church Street in Downtown Evanston. The opening is Friday, September 18 at 7:30pm.

Tickets, starting at $36, are now available at northlight.org or 847.563.8400. Season subscriptions are also available at northlight.org/subscribe or 847.563.8400. With its wide range of ticket prices, discounted subscription packages and complimentary parking at the 1800 Maple Garage, Northlight remains of one of the best theatrical values in Chicagoland. Package options include traditional 5-Play Subscriptions and 4-Ticket Flex Passes.

In a 1930s Chicago press room, wise-cracking reporters are abuzz with the latest news: ace reporter Hildy Johnson is quitting her job and getting married. Editor Walter Burns has no intention of letting her go– out of the newsroom, or into the arms of another man. When a death row convict manages a daring escape, Walter wrangles Hildy into covering one last irresistible story, a tangle of rival reporters, crooked politicians, and a scoop too big to ignore!  

The cast features Kate Fry (Hildy Johnson), Timothy Edward Kane (Walter Burns), Joe Dempsey (McCue), William Dick (Sheriff Hartman), John Drea (Earl Williams), Cindy Gold (Mrs. Hefflefinger), Mark David Kaplan (Bensinger), Tim Kazurinsky (Pincus), John Lister (The Mayor), Peter Moore (Brad Hefflefinger), Sadieh Rifai (Molle Malloy), Kelan Smith (Kruger), and Guy Van Swearingen (Endicott).

The creative team Jeff Kmiec (set design), Izumi Inaba (costume design), JR Lederle (lighting design), and Andre Pluess (sound design). The stage manager is Katie Klemme, resident properties supervisor is Nick Bartleson, and the resident violence and intimacy coordinator is Jyreika Guest.

BJ Jones comments, "To open our new home in Evanston, we are celebrating our roots with a brand new adaptation of The Front Page, a nearly 100-year-old play set in Chicago, by Chicago playwrights and with local stars, including Evanston residents Kate Fry, Tim Kane and Tim Kazurinsky. The play is refreshed and adapted by one of America's most produced playwrights Jeffrey Hatcher, who also wrote the adaptation of Dial M for Murder seen at Northlight in 2023."

The new state-of-the-art facility is a major component in the arts and cultural scene in Chicagoland and the North Shore and features approximately 285 comfortable seats with excellent sight lines, state-of-the-art sound and lighting systems, a dedicated box office and contemporary bar in the lobby, a second floor rehearsal and event space, and lounge and gathering areas on the first and second floors. Located in the heart of downtown Evanston, with easy, nearby access to parking and public transportation via CTA and Metra, Northlight will contribute to a vibrant local economy and will serve as an economic driver for downtown Evanston.

Convenient, free parking is available for all Northlight patrons at the 1800 Maple Self Park Garage. Details and locations, including ADA parking, are available at northlight.org/location.

The 2026-27 Season is sponsored in part by Paul Epner and Janet Gans Epner. 

Northlight's production of The Front Page is sponsored in part by Sandra and Bill Farrow, Donna and Gene Frett, Susan and Henry Gaud, Barbara Goodman and Seth Weinberger, Joan and Guy Gunzberg, Paul and Leslie Lehner, Ginny Noyes, Bob Regan and Cindy Clark, Bob and Charlene Shaw, Anne and Greg Taubeneck.

The World Premiere of The Front Page 

Adapted by Jeffrey Hatcher 

From the original by Ben Hecht and Charles MacArthur 

Directed by BJ Jones 

Dates: September 9 - October 18, 2026 

Cast: Kate Fry (Hildy Johnson), Timothy Edward Kane (Walter Burns), Joe Dempsey (McCue), William Dick (Sheriff Hartman), John Drea (Earl Williams), Cindy Gold (Mrs. Hefflefinger), Mark David Kaplan (Bensinger), Tim Kazurinsky (Pincus), John Lister (The Mayor), Peter Moore (Brad Hefflefinger), Sadieh Rifai (Molle Malloy), Kelan Smith (Kruger), and Guy Van Swearingen (Endicott).

Creative team: Jeff Kmiec (set design), Izumi Inaba (costume design), JR Lederle (lighting design), and Andre Pluess (sound design). The stage manager is Katie Klemme, resident properties supervisor is Nick Bartleson, and the resident violence and intimacy coordinator is Jyreika Guest.

Tickets:

Box Office: 1012 Church Street in Evanston, northlight.org, 847.563.8400

Previews (September 9-September 17): start at $36

Regular run (September 19-October 18): start at $50

Season-long discounts, subject to availability:

Student tickets: $20

Rush seats for evening performances available at 3pm daily: $20

Evanston resident discount: 10% off Friday performances

Schedule:

Tuesdays: 7:30pm

Wednesdays: 2:00pm and 7:30pm

Thursdays: 7:30pm

Fridays: 7:30pm

Saturdays: 2:00pm and 7:30pm

Sundays: 2:00pm and 7:30pm

Accessible Performances:     

Audio Description/Touch Tour: Saturday, October 3 at 2:00pm

Open Captioning: Friday, October 2 at 7:30pm and Saturday, October 3 at 2:00pm

Notes of Interest:

• Northlight Theatre's new theater, education, and community space is a major component in the arts and cultural scene in Chicagoland and the North Shore and features 287 comfortable seats with excellent sight lines, state-of-the-art sound and lighting systems, a dedicated box office and contemporary bar in the lobby, a second floor rehearsal and event space, and lounge and gathering areas on the first and second floors. Located in the heart of downtown, with easy, nearby access to parking and public transportation via CTA and Metra, Northlight will contribute to a vibrant local economy and will serve as an economic driver for downtown Evanston.
• The opening of Front Page follows a series of opening events for Northlight's new home, including a ribbon cutting ceremony on July 28, 2026, and the Grand Opening Gala, "Celebrating our Past, Building our Future," on Saturday, August 15, marking the culmination of the company's 50^th Anniversary Season and the beginning of a new era in Evanston.
• BJ Jones, Kate Fry, Timothy Edward Kane, Tim Kazurinsky, and John Lister are all Evanston residents and frequent artists at Northlight.
• Married couple Kate Fry and Timothy Edward Kane, who lead the cast of The Front Page, previously performed together in Birthday Candles and The Miser. Kate also appeared at Northlight in Mother of the Maid, The Beauty Queen of Leenane, and Outside Mullingar. Timothy has also been seen at Northlight in Gaslight, Faceless, Lost in Yonkers, and She Stoops to Conquer.

About the Artists

BJ Jones (Director and Northlight Artistic Director) is entering his 27th season as Artistic Director of Northlight. Mr. Jones is a two-time Joseph Jefferson Award-winning actor and a three-time nominated director. He's directed the world premieres of First Lady of Television, Brooklyn Laundry, Charm (Jeff Award Best New Play), The Outgoing Tide (Jeff Award Best New Play), White Guy on the Bus (Jeff Nominated Best New Play), Chapatti (Jeff Nominated Best New Play), Better Late, and Rounding Third. Notably, he has directed productions of Outside Mullingar, Grey Gardens, The Price, The Lieutenant of Innishmore, Andy Warhol in Iran, and The Beauty Queen of Leenane. As a producer, he has guided the three world premieres of The Christmas at Pemberley trilogy, Shining Lives, The Last Five Years, and Studs Terkel's The Good War. Additional directorial credits include Pitmen Painters (Timeline, Jeff Award Best Production); 100 Saints You Should Know (Steppenwolf); Glengarry Glen Ross (Alliance Theatre, Atlanta, Suzi Bass nomination Best Director); The Lady with All the Answers (Cherry Lane, New York); Animal Crackers (Baltimore Center Stage); Three Musketeers, The Tempest, Twelfth Night, Much Ado About Nothing (Utah Shakespeare Festival), and four productions at the Galway International Arts Festival. As a performer, he has appeared at Northlight, Goodman, Steppenwolf, Court, and other theatres throughout Chicago. Film/TV credits include The Fugitive, Body Double, Law and Order: Criminal Intent, Early Edition, Cupid, and Turks, among others.

Joe Dempsey (McCue) is so very happy to be in the inaugural production at Northlight's new home. Past Northlight shows include The First Lady of Television, The Mousetrap, Faceless, Inherit the Wind, and All in the Timing. He's also worked at Goodman, Chicago Shakespeare, Lookingglass, Court, Paramount, Theatre Wit, Remy Bumppo, many others, and most recently at Drury Lane Oak Brook, performing the titular role in Father of the Bride. Joe is an alum of the Neo-Futurists and The Second City National Touring Company. Congrats to BJ, Tim, and the Northlight staff on the new digs!

John Drea (Earl Williams) Northlight: Little Women (Jeff Nomination). Chicago: Little Bear Ridge Road (Steppenwolf), The Sound Inside (Goodman), The Da Vinci Code (Drury Lane), A Lie of the Mind (Raven). Broadway: Death of a Salesman, Little Bear Ridge Road. Regional: American Players Theatre, Constellation Stage & Screen. Television: Monster. Film: Patient.

William Dick (Sheriff Hartman) Northlight: The First Lady Of Television, The Book Of Will, The Odd Couple; Steppenwolf: Amadeus, Choir Boy (Jeff Award-Ensemble); Goodman: Inherit The Wind, A Christmas Carol, Bernhardt/Hamlet, Father Comes Home From The Wars, Blind Date; Chicago Shakespeare: The Comedy of Errors, All's Well That Ends Well, among many; TimeLine: The Pitmen Painters (Jeff Award-Ensemble). Regional: Guess Who's Coming To Dinner, The Little Foxes (Asolo Repertory); Henry IV, 1&2 (Notre Dame Shakespeare Festival); plus Milwaukee Repertory, Madison Repertory, and Los Angeles Theatre Center. TV: Dark Matter, Emperor of Ocean Park, A League of Their Own, 4400, Fargo, Chicago Fire, Empire. Film: Fred Claus, Stranger Than Fiction, The Break Up, The Merry Gentleman, Oz the Great and Powerful, The Company.

Kate Fry (Hildy Johnson) Northlight: Birthday Candles, Mother of the Maid, The Beauty Queen of Leenane, Outside Mullingar, and The Miser. Chicago: The Cherry Orchard, The Winter's Tale, Ah, Wilderness! (Goodman); The Belle of Amherst, Electra, The Hard Problem and others (Court); Leopoldstadt, Marjorie Prime, Hedda Gabler, A Minister's Wife, Oh Coward! (Writers); and productions with Victory Gardens, Chicago Shakespeare, Apple Tree Theatre, and Marriott Theatre. Regional: Center Theatre Group, McCarter Theatre Center, Repertory Theatre of St. Louis, and Lincoln Center. TV credits include: Empire (Fox), Boss (Starz), Chicago PD (NBC), and Proven Innocent (Fox). She has received four Joseph Jefferson awards, the local Sarah Siddons award, the After Dark award, and Chicago Magazine's actress of the year. Kate is married to actor/teacher Timothy Edward Kane; they have two sons.

Cindy Gold (Mrs. Hefflefinger) Chicago credits: The First Lady of Television, Pride and Prejudice, Jekyll and Hyde, Mothers and Sons, and Awake and Sing (Northlight); The Most Spectacularly Lamentable Trial of Miz Martha Washington (Steppenwolf); Measure for Measure, Christmas Carol (Goodman); Wipeout (Rivendell); Indecent (Victory Gardens); Cat on a Hot Tin Roof (Drury Lane); Taming of the Shrew (Chicago Shakespeare), Showboat, My Fair Lady (Lyric Opera). Regional: The Cake (Asolo Theatre); Showboat, Daughter of the Regiment (The Kennedy Center); Music Man (Glimmerglass Opera); and several summers with Peninsula Players. She won a Jeff Award for her performance in Loving Repeating. Recent TV appearances include Work in Progress, Empire, Chicago Fire, and Leverage. Film: Ghostlight, I Used to Go Here. Cindy is Professor Emeritus of Theatre at Northwestern University. Represented by Stewart Talent.

Timothy Edward Kane (Walter Burns) is pleased to return to Northlight, having previously appeared in Gaslight, Birthday Candles, Faceless, Lost in Yonkers, The Miser, and She Stoops to Conquer. Other Chicago credits include work with Court Theatre, Chicago Shakespeare Theatre, Writers Theatre, Rivendell, TimeLine, Goodman, and Steppenwolf. International and Regional credits: The Royal Shakespeare Company (UK), The Mark Taper Forum, Notre Dame Shakespeare, Peninsula Players, and the Illinois Shakespeare Festival. TV: Chicago P.D. (NBC), Chicago Fire (NBC), and Empire (FOX). Awards: two Jeff Awards, AfterDark, and Chicago Magazine's actor of the year. Mr. Kane is married to actress Kate Fry, with whom he has two sons; he is an Assistant Professor of Theatre at Loyola University Chicago.

Mark David Kaplan (Bensinger) has received three Joseph Jefferson Awards – for Les Misérables, Ragtime, and Forbidden Broadway. Select theatre: First Lady of Television and Mr. Dicken's Hat (Northlight); The Diary of Anne Frank (People's Light); Fiddler on the Roof (Drury Lane/Lyric Opera); Titanic (Marriott); No Man's Land (Steppenwolf); Clue (Mercury); The Band's Visit (TheatreSquared); Kinky Boots (Paramount); and premieres with Chicago Shakespeare, About Face, Goodman, and Skylight Theatres. Concert appearances: She Loves Me (w/Bryce Pinkham); Cabaret (Gulf Coast Symphony); and Ragtime  - opposite Ashley Brown (Cincinnati Pops). Mark toured the US as Zazu in The Lion King. TV: Utopia (Amazon); Chicago Fire (NBC). Film: Adult Children and the upcoming Patient. Mark is a part of Season of Concern, an organization that supports those who work in the performing arts.

Tim Kazurinsky (Pincus) got his start at Chicago's Second City Theatre. Movie appearances include Neighbors, Somewhere in Time, and three Police Academy films.  A former cast member of NBC's Saturday Night Live, Tim came home to Chicago to co-write such screenplays as My Bodyguard, About Last Night..., The Cherokee Kid, and For Keeps. He was nominated for a BAFTA and Writers' Guild Award for his screenplay for Strange Relations, starring Julie Walters, Paul Reiser, and dear friend George Wendt. Tim still loves performing and has appeared on Curb Your Enthusiasm, Still Standing, and According to Jim in guest star roles. He has previously appeared at Northlight in The Odd Couple and Funnyman. Tim lives in Evanston with his wife Marcia, kids Zoe & Pete, and Zippy the dog.

John Lister (The Mayor) returns for his sixth production with Northlight, having previously appeared in Tom Jones, She Stoops To Conquer, Inherit The Wind, Red Herring, and Lady Windermere's Fan. Theatre credits include numerous productions with Steppenwolf, Writers, The Goodman, Chicago Shakespeare, APT, and Lyric Opera. Film and TV credits include Public Enemies (Universal), Animals (Oscilloscope), The Secret Santa (TLC), Never Not Yours (Adult Children), Chicago Fire (NBC), Chicago Med (NBC), Patriot (Amazon), easy (Netflix), The Red Line (CBS), and Dark Matter (Apple TV+). John is a proud union member, represented by Stewart Talent Management. He is especially excited to be working for the first time with Artistic Director BJ Jones.

Peter Moore (Brad Hefflefinger) Is a founding member and Artistic Director of Steep Theatre where he has performed in numerous productions over the last 25 years, including A Slow Air, The Writer, Light Falls, Pomona, Birdland, Brilliant Adventures, Harper Regan, If There Is I Haven't Found It Yet, A Brief History of Helen of Troy, and some other impossibly long titles. Other credits: I am Not Your Perfect Mexican Daughter, The Crucible, and August: Osage County (U/S) (Steppenwolf); Ma Rainey's Black Bottom (Writers); In the Canyon (Jackalope); The Downpour, (Route 66 Theatre). Film & TV: Chicago Fire, Chicago PD, Chicago Med, Chicago Justice (NBC); Emperor of Ocean Park (MGM+); The Red Line (CBS); and the Bollywood blockbuster Dhoom 3. Pete is represented by Gray Talent Group.

Sadieh Rifai (Mollie Mallory) is a Chicago-based actor, playwright, and graduate of The School at Steppenwolf. A recipient of the prestigious 2011 Princess Grace Award, she is an ensemble member at A Red Orchid Theatre, where her credits include The Targeted, Do You Feel Anger?, An Evening at the Talk House, and the world premiere of Grey House. She is making her Northlight Theatre debut and has performed across major regional stages, appearing in You Will Get Sick (Steppenwolf); Support Group for Men, A Christmas Carol (Goodman); The Nativity Variations (Milwaukee Repertory); and the world premiere of The Humans (American Theatre Company). Film: All Happy Families and The Wise Kids. Television: Shining Girls, Somebody Somewhere, Patriot, The Red Line, and Bettendorf Talks.

Kelan M. Smith (Kruger) is thrilled to return to Northlight for this exciting world premiere! Chicago credits include The Porch on Windy Hill (Northlight); Spring Awakening, Pump Boys and Dinettes (Porchlight); Jekyll and Hyde, Amélie (Kokandy); Million Dollar Quartet Christmas, Buddy - The Buddy Holly Story (Marriott); Sunny Afternoon, The Lord of the Rings (Chicago Shakespeare); Ring of Fire (Drury Lane); The Choir of Man (Apollo); Camp Rock (The Beautiful City Project); Bright Star (Boho Theatre), Haymarket (Underscore Theatre). Regional/International credits include The Lord of the Rings (Auckland Civic Theatre); Plaid Tidings, Lost Highway, Buddy - The Buddy Holly Story (Timber Lake Playhouse); and Once (Bristol Valley Theatre). Love to Kara, and his late brother Riley.www.kelanmsmith.com

Guy Van Swearingen (Endicott) Northlight Theatre debut. Off-Broadway: The Opponent (59E59). Select Regional: Berlin, Arsenic and Old Lace (Court); Sweat (Huntington); Sign in Sidney Brustein's Window (Goodman); Simpatico (McCarter); The Time of Your Life (Steppenwolf, Seattle Rep, A.C.T.); Taking Care (Steppenwolf); Trouble In Mind (Timeline); Cleansed (Defiant); Eleven Rooms of Proust (Lookingglass, About Face, Goodman); Mann ist Mann (Famous Door). Founder of A Red Orchid with over 15 performance credits. TV: The Bear (FX); Power Book IV: Force (Starz); Chicago Fire (NBC); Fargo (F/X); The Red Line (CBS); Boss (Starz); The Beast (A&E). Film: Captive State (Lionsgate); Take Shelter (Sony); The Dilemma (Universal Pictures); The Merry Gentleman (Samuel Goldwyn); The Weatherman (Paramount); Ali (Sony Pictures). Former Chicago Fire Department Lieutenant. Agency: Paonessa Talent; Management: WEG Talent, NYC.

Northlight is supported in part by generous contributions from BMO; Bulley & Andrews; Byline Bank; ComEd, An Exelon Company; Dr. Scholl Foundation; Eckenhoff Saunders Architects, Inc.; Evanston Community Foundation; Franklin Square Foundation; Full Circle Foundation; Grumman Butkus Associates; Hagerty Consulting; Illinois Arts Council, a state agency; John R Halligan Charitable Fund; Kirkland & Ellis; LionBird; Lloyd A. Fry Foundation; Mabadi Realty; Mammel Family Foundation; Modestus Bauer Foundation; Northwestern University; Paul M. Angell Family Foundation; The Revada Foundation of the Logan Family; Patrick G. and Shirley W. Ryan Foundation; The Schubert Foundation, Inc.; SLOAN; The Harold and Mimi Steinberg Charitable Trust; The Sullivan Family Foundation; Tom Stringer Design Partners.

Northlight Theatre aspires to promote change of perspective and encourage compassion by exploring the depth of our humanity across a bold spectrum of theatrical experiences, reflecting our community to the world and the world to our community.

Founded in 1974 with its inaugural season in 1975-76, the organization has mounted over 250 productions, including more than 45 world premieres. Northlight has earned 238 Joseph Jefferson Award nominations and 37 Awards, as well as 11 Edgerton Foundation for New Play Awards. As one of the area's premier theatre companies, Northlight is a regional magnet for critical and professional acclaim, as well as talent of the highest quality.

Oscar Wilde’s The Importance of Being Earnest is one of the greatest farces ever written. His wordplay caricatured high society, and clever pay-offs are hilarious when executed properly. The play was first performed on February 14, 1895 (Valentine's Day). The premiere took place at the historic St James's Theatre in London. Wilde famously subtitled the work “A Trivial Comedy for Serious People,” a reminder that its brilliance lies in treating absurdity with absolute sincerity. Unfortunately, No Dogs in the Kitchen Theatre Company’s recent production, directed by Genevieve Corkery, misses the mark when bringing this beloved play to the stage.

For those unfamiliar, the classic comedy follows two high-society bachelors, Jack Worthing and Algernon Moncrieff, who invent secret personas to escape the boredom of everyday life. Trouble arises, however, when Jack (going by the name of “Ernest”) proposes to Gwendolen, who is intent on only marrying a man with that specific name. Matters are complicated further when the carefree, mischievous Algernon also dons the moniker “Ernest” to woo Jack’s ward, Cecily, who shares the exact same romantic obsession with the name. To find happiness, the lovers must quickly untangle a web of ridiculous misunderstandings and mistaken identities. The true brilliance of Wilde’s script lies in its wordplay and sharp societal satire, taking the audience on a wild, hysterical ride where the utterly absurd is treated with the utmost importance.

Founded in 2023, No Dogs in the Kitchen is still a young company, and a certain learning curve is both natural and expected as they continue shaping their artistic identity. Their past work has already shown a clear interest in bold, unconventional staging, often embracing heightened physicality and playful absurdism. That adventurous spirit is a defining part of their aesthetic, and it’s evident the ensemble values experimentation and a willingness to push familiar texts in unexpected directions. While this production didn’t always find harmony between those impulses and Wilde’s finely tuned verbal wit, the company’s enthusiasm, imaginative framework, growing technical confidence, and emerging vision suggest they have the tools to grow into a distinctive and compelling presence within Chicago’s storefront theatre scene.

The cast of No Dogs in the Kitchen’s “The Importance of Being Earnest” at Facility Theatre.Photo: Alex Albrecht

That said, where this production struggles is in its apparent distrust of the script, adding jumbled and superfluous elements that only serve to undercut the humor it tries so hard to generate. It is as if the creative team didn't believe the script was funny enough on its own, choosing instead to pile on unnecessary subtext that needlessly deviated from - and was unsupported by - Wilde’s text.

This staging regularly undermines its own comedic timing with added, cartoonish sound effects that reduce wit to silly gags. From boinging springs to breaking plates, it felt as if someone was trying to use every button on a soundboard. Furthermore, a heavy hand of physical humor frequently distracts from the brilliant dialogue. During several monologues, cast members distracted the audience with routines like fighting on a sofa. Another oddity occurred in the final act when multiple cast members broke the fourth wall to deliver lines - a trick they hadn't used up until that point. It’s unclear why there was such distrust in the source material, and why a surplus of additions was believed to be the solution.

The performances also suffered from this same directive, often relying on over-the-top delivery. Mitch Karmis, who played two different butlers, mugged for the audience and utilized an almost cartoon-like physicality. David Lovejoy portrayed Lady Bracknell as a Mommie Dearest caricature instead of the formidable, sophisticated society matriarch who delivers scathing lines with dry, icy wit. The performance moved between widely contrasting vocal registers, creating an uneven tone that often felt out of step with Lady Bracknell’s traditionally controlled presence. It was also unclear why, in the final act, Lady Bracknell suddenly transformed into a flirtatious aggressor who growled at Jack and threw herself at the butler. Another odd decision was to have Dr. Chasuble played by Sara Corkery in a rubber race mask.

Amidst these choices, there was a bright spot in Garret Weigel’s Jack. For the most part, Weigel found the right balance between inventive character choices and a respect for the script. Jack could easily be played as a boring straight-man when up against the whimsical Algernon, but Weigel added a distinct flair to his interpretation without straying too far from the original play.

It is genuinely unfortunate that the production chose to deviate so drastically from the text. When done faithfully, The Importance of Being Earnest is a true theatrical gem. While there were moments that elicited genuine laughter, they occurred when the text was allowed to speak for itself, rather than being buried under extraneous gags.

While this hyper-stylized, over-the-top version might appeal to theatergoers seeking a radical, alternative spin on a classic, those looking for a faithful, witty adaptation of Wilde’s masterpiece will likely find this production is not the one.

The Importance of Being Earnest runs through July 26th at Facility Theatre. For more information and/or tickets, visit https://nodogsinthekitchen.org/.

Full cast and production team have been announced for City Lit's season-opening production of SHANE, Mark Pracht's World Premiere adaptation of the classic Western novel by Jack Schaefer. The story, which richly depicts the transition of the American frontier from individualism to community, has been an enduring favorite ever since the novel's publication in 1949 and its 1953 Academy Award-winning film adaptation. Pracht, a Jeff Award-nominated writer (for his play THE HOUSE OF IDEAS, produced by City Lit in 2024) and one of City Lit's first class of Artistic Associates, will direct. SHANE will play through Sunday, October 4.
 
Michael B. Woods, a Jeff Award winner for Performer in a Principal Role - Play for his title role in BoHo Theatre's  2018 production of CYRANO, will take on the title role of the mysterious outsider who rides into a Wyoming Valley and takes a job as a farmhand. The homesteading family who hires him – Joe and Marian Starrett and their son Bob – will be played by Josh Odor, Whitney Minarik, and Bruce Holtman. Odor won a Jeff Award earlier this year as Performer in a Supporting Role – Play (Short Run) for his performance as the villainous father in the American Premiere of GANGSTA BABY with Open Space Arts. In SHANE, he will play the much kinder father and husband Joe. Minarik has appeared in NETWORK and THE TRAGEDY OF MACBETH with Invictus Theatre. Holtman was last seen at City Lit in SHERLOCK HOLMES AND THE CHRISTMAS CLOWNS and also appeared in Theo Ubique's THE BEST LITTLE WHOREHOUSE IN TEXAS. City Lit Artistic Associate Sean Harklerode, whose City Lit work includes roles in NIGHT OF THE HUNTER, MURDER IN THE CATHEDRAL, and all three entries in THE FOUR-COLOR TRILOGY, will play Fletcher – the cattle baron who tries to scare the Starretts off their land. The ruthless professional gunslinger Stark Wilson, who threatens to kill the homesteaders who refuse to leave, will be played by Jay Donley, whose experience with violence includes creating fight and intimacy design for Chicago productions as diverse as CAROUSEL (Music Theater Works) and ANGELS IN AMERICA (Invictus).
 
Also in Pracht's SHANE cast are Brandon Boler (Ernie Wright), Ross Childs (Curly), Chuck Munro (Grafton), Frank Nall (Shipstead), and Andrew Pappas (Chris). Understudies are Anthony Augustin (Curly/Shipstead U/S), Marshall Kious (Joe Starrett/Fletcher U/S), Zach Kunde (Grafton/Wright U/S), Payton Nesci (Bob/Chris U/S), Chase Wheaton-Werle (Shane/Ledyard-Wilson U/S), and Mary Eliza Willingham (Marian Starrett U/S).

The SHANE production team will include Jeremiah Barr (Scenic Designer/Technical Director), Beth Laske Miller (Costume Designer), Petter Wahlbäck (Sound Designer/Composer), Josiah Croegaert (Lighting Designer), G. "Max" Maxin IV (Projection Designer), Jim Terry (Projection Artwork), Jeff Brain (Props Designer), Vic Bayona and Richard Gilbert of R & D Choreography (Violence Designers), Courtney Abbott (Intimacy Director), Michael Lesko (Stage Manager), Leigh Barrett (Assistant Director), Mateo Gutierrez   (Production Manager).
 
All performances will be at City Lit Theater, 1020 W. Bryn Mawr Avenue, Chicago, on the second floor of the Edgewater Presbyterian Church. City Lit Season 46 subscriptions are available at $112.00, good for all performances, or $88.00 for preview performances. Subscriptions may be ordered online at www.citylit.org or purchased over the phone by calling 773-293-3682. Single tickets for Season 46 are priced at $32 for previews and $40 for regular performances and are on sale now. Senior prices are $5 off the applicable ticket prices. Students and active military are $22.00 for all performances.

SHANE 
Based on the novel by Jack Schaefer
Adapted and directed by Artistic Associate Mark Pracht 
World Premiere Adaptation of the classic Western. 
August 21 - October 4, 2026
Previews August 21 – 28, 2026
Regular run August 29 - October 4, 2026
Fridays and Saturdays at 7:30 pm, Sundays at 3 pm

Plus two Mondays, September 21 (Understudy show) and September 28 at 7:30
Tickets $32 for previews and $40 for regular performances. Seniors $5.00 off all prices. Students and active military are $22.00 for all performances. Groups are $30 per person. Prices include all fees and taxes.
Tickets available online at www.citylit.org or by phone at 773-293-3682.
All performances at City Lit Theater, 1020 W. Bryn Mawr, on the second floor (accessible via elevator) of the Edgewater Presbyterian Church.
 
In this World Premiere adaptation of the classic western, Shane, a mysterious stranger, shows up at the Starrett homestead in the Wyoming Territory in 1889. Though he seems to be hiding a dangerous past, he's offered a job as a farm hand and settles in with the Starretts: Joe, his wife Marian, and his son Bob, our narrator. When Joe refuses to sell his land to open range rancher Fletcher, it sets up a deadly showdown that alters the fates of everyone involved. 

PrideArts' 2026-27 season will open in August with the world premiere of Chicago-based playwright Matt Schutz's WINDOWS, a comedy of LGBT Gen Z-ers finding their ways through career and relationship challenges. WINDOWS was developed through PrideArts' Queery Playwrights Lab, in which 33 scripts with an LGBTQ focus were submitted for consideration and six were selected for further development. Scenes from those six scripts were performed publicly, and with the audience's help, WINDOWS was chosen for this full production, to be directed by with QUEERY Festival Director Taylor Pasche. WINDOWS will play through August 23 in the Hoover-Leppen Theatre at Center on Halsted, 3656 N. Halsted, Chicago.
 
Pasche announced the cast and crew for WINDOWS today. Playing Olivia, a once-promising soccer player recovering from a career-ending injury who spends her days watching her neighbors and imaging what might be going on in their lives, will be Lucabella Sangin. Sangin is a recent BFA graduate of Emerson College in Boston making her Chicago debut. Olivia's partner Natalie, who is frustrated with her part-time job at a furniture store, will be played by Vinita Dixit. Dixit is another recent arrival to Chicago, having earned her BFA from Southern Methodist University in Dallas. In Chicago, she has performed with Theatre Momentum and the queer sketch comedy group Fun House. The third member of WINDOW's trio of GenZ-ers is Natalie's roommate Clay, who is hoping to receive a long-awaited job promotion and is conflicted about his feelings toward the ex-boyfriend who has unexpectedly reentered his life. River Ruiz, a theatre and screen actor from Humboldt Park whose credits include understudying the title role in LOBBY HERO with Shattered Globe Theater and the Netflix series EASY, will be Clay.
 
Playing multiple roles as the neighbors this trio observes, and others, are David Lipschutz and Ashley Kramer. Lipschutz's credits include productions by Hell in a Handbag, Kokandy, Broken Nose, Victory Gardens, and Black Button Eyes, most recently as the understudy for the sole role of the one-actor play ST. NICHOLAS.  Kramer is a recent BFA graduate of the University of Michigan making her Chicago acting debut. Understudies are Claire Thompson (u/s Olivia), Colin Callahan (u/s Clay and Actor 1), and Elyssa Treviño (u/s Natalie and Actor 2).

The production's designers are Hayley E Wallenfeldt (Scenic Designer), Emily N. Brink (Costume Designer), Lea Davis (Lighting Designer), Valerio (Val) T. Gardner (Sound Designer), Maddi Waneka (Props Designer), and Paulina Martz (Intimacy Director). Also on the production team are Corbin Paulino (Stage Manager), Inaija Butler (Production Manager), Reese Sheldahl (Technical Director), and Eve Pahoresky (Assistant Stage Manager). 
 

WINDOWS
By Matt Schutz
WORLD PREMIERE
Directed by Taylor Pasche
August 7 - 23, 2026
Previews Friday, August 7 at 7:00 pm and Sunday, August 9 at 3:00 pm
Thursdays – Saturdays at 7:00 pm, Sundays at 3:00 pm
Hoover-Leppen Theatre in Center on Halsted, 3656 N. Halsted, Chicago 60613
Tickets $35 for regular performances, $25 for previews. Seniors and students receive a $5 discount off all performance prices. Tickets and more information at www.pridearts.org.
773-661-0770
 
Olivia is a former soccer player still recovering from a career-ending injury. Her girlfriend, Natalie, is stuck in a job she's not passionate about, caught between finding her own happiness and caring for Olivia's. Meanwhile, Natalie's roommate Clay is trying to take the next step in his life – towards a new promotion, away from a past relationship, and into his own power. As all three maneuver through the ever-present reality of Olivia's injury, they find escape however they can.

Following a critically-acclaimed, sell-out run of Just For Us at Steppenwolf Theatre and around the globe, Tony and Emmy Award-winning comedian Alex Edelman returns with another hilarious and thought-provoking dissection of identity: What Are You Going to Do, playing five performances only August 12 – 16, 2026 in Steppenwolf's Downstairs Theater, 1650 N. Halsted St. in Chicago. Tickets ($54* – $94*) are now on sale at steppenwolf.org or by calling the Box Office at (312) 335-1650. *includes $10 processing fee

This all-new show finds the Bostonian sweetheart asking different and more unsettling questions. Primarily, should he spend his time doing something else? Should he be saving lives like his physician father? Should he be trying to return to the sense of community he experienced growing up among Israelis and Palestinians? In a show that reckons with the effects of time spent in trauma, Edelman deftly weaves in and out of examinations of faith broadly – not just Judaism – and wonders if, perhaps, there might be better things out there for him.

Performance Schedules:

Wednesday, August 12 at 7:30 pm
Thursday, August 13 at 7:30 pm
Friday, August 14 at 7:30 pm
Saturday, August 15 at 7:30 pm
Sunday, August 16 at 3 pm

Artist Biography:

One of the most critically hailed comedians of his generation, Alex Edelman is best known for solo shows that blur the line between his stand-up comedy roots and narrative-driven storytelling. His last offering, Just For Us, played more than 500 performances all over the world - including acclaimed runs off- and on-Broadway. It premiered as an HBO original comedy special in April of 2024, earning him a place on the Time 100 list, a Tony Award and an Emmy Award for Best Writing for a Variety Special. Edelman appeared in Jerry Seinfeld's directorial debut for Netflix, Unfrosted. Beyond stand-up, he writes regularly for TV and can be seen starring in Peacock's The Paper, a Greg Daniels-helmed spiritual successor to The Office. He also writes on the show as a Consulting Producer. 

Accessibility:

Steppenwolf is committed to making the theatergoing experience accessible to everyone. Assistive listening devices are available for every performance and all our spaces are equipped with an induction hearing loop. Our building features wheelchair accessible seating and restrooms, push-button entrances, a courtesy wheelchair and all-gender restrooms, with accessible counter and table spaces at our bars. For additional information regarding accessibility, visit steppenwolf.org/access. If you have questions or would like to make a specific request, email This email address is being protected from spambots. You need JavaScript enabled to view it. or call our box office at (312) 335-1650.

Sponsor Information: 

United Airlines is the Official and Exclusive Airline of Steppenwolf. Steppenwolf is also grateful for the significant season support from lead sponsors Allstate Insurance Company, Paul M. Angell Family Foundation, Bloomberg Philanthropies, Crown Family Philanthropies, Caroline and Keating Crown, Julius Frankel Foundation, Lefkofsky Family Foundation, Northern Trust, Anne and Don Phillips, John Hart and Carol Prins, Shubert Foundation, Inc, Walder Foundation, and Zell Family Foundation. Steppenwolf also acknowledges generous support from premier sponsors Anonymous, Andrew and Amy Bluhm, Michael and Cathy Brennan, Ann and Richard Carr, Chicago Community Trust, Conagra Brands Foundation, Rich and Margery Feitler, FROST CHICAGO, John D. and Catherine T. MacArthur Foundation, The Orlebeke Foundation, Polk Bros. Foundation, Sacks Family Foundation, Harold and Mimi Steinberg Charitable Trust, Thoma Bravo and Bryan Traubert and Penny Pritzker. Steppenwolf also acknowledges support from the Illinois Arts Council and the City of Chicago Department of Cultural Affairs and Special Events.

About Steppenwolf Theatre Company:

Steppenwolf Theatre Company is the nation's premier Ensemble Theater with 50 members who are among the top actors, playwrights and directors in the field. Thrilling, powerful, groundbreaking productions have made this theatre legendary. From the early phenomenon of Balm in Gilead, to The Grapes of Wrath, August: Osage County, Downstate, The Brother/Sister Plays, and more recently, the Pulitzer Prize and Tony Award-winning Purpose, Steppenwolf Theatre has had a long-running and undeniable impact on American Theatre and Chicago's cultural landscape. Founded in 1974 by Terry Kinney, Jeff Perry and Gary Sinise, Steppenwolf started as a group of friends in their teens and early 20s performing in the basement of a school in Highland Park, Illinois. Today, the company's artistic force remains rooted in the original vision of its founders: an artist-driven theatre, whose vitality is defined by its appetite for bold and innovative work. Every aspect of Steppenwolf is rooted in its Ensemble ethos, from the intergenerational artistic programming to the multi-genre performance series LookOut, to the nationally recognized work of Steppenwolf Education and Engagement which serves nearly 15,000 teens annually. While grounded in the Chicago community, more than 40 original Steppenwolf productions have enjoyed success nationally and internationally, including Broadway, Off-Broadway, London, Sydney, Galway and Dublin. Steppenwolf also holds accolades that include the National Medal of Arts, 14 Tony Awards, two Pulitzer Prize-winning commissions and more. Led by Artistic Directors Glenn Davis and Audrey Francis, Executive Director E. Brooke Flanagan and Board of Trustees Chair Keating Crown — Steppenwolf continually redefines the boundaries of live theater and pushes the limits of acting and performance.

Steppenwolf's Mission: Steppenwolf strives to create thrilling, courageous and provocative art in a thoughtful and inclusive environment. We succeed when we disrupt your routine with experiences that spark curiosity, empathy and joy. We invite you to join our ensemble as we navigate, together, our complex world. steppenwolf.org, facebook.com/steppenwolftheatre, twitter.com/steppenwolfthtr and instagram.com/steppenwolfthtr.

Get ready to have the time of your life! Broadway In Chicago is pleased to announce that single tickets for DIRTY DANCING: THE MUSICAL – a new stage production based on Lionsgate’s beloved film Dirty Dancing – are now on sale. DIRTY DANCING: THE MUSICAL will play Broadway In Chicago’s James M. Nederlander Theatre (24 W. Randolph St.) for a limited two-week engagement, September 9 – 20.

Set against the unforgettable summer of 1963, DIRTY DANCING: THE MUSICAL follows Frances “Baby” Houseman as she discovers love, passion, and independence through her relationship with charismatic dance instructor Johnny Castle. With live music from the original film, DIRTY DANCING: THE MUSICAL is the feel-good escape audiences have been craving, alive with the pulse of electrified dancing, the thrill of secret encounters, and the allure of forbidden romance.

DIRTY DANCING: THE MUSICAL will be directed by Tony Award^® nominee, Obie Award^® winner, and two-time Emmy Award^® winner Lonny Price (Sunset Boulevard, Sweeney Todd), who played Neil Kellerman in the original Dirty Dancing film, with choreography by Darrell Grand Moultrie (Fat Ham, Beyonce’s World Tour). Bringing to the stage the celebrated story from Eleanor Bergstein — the original screenwriter of the film — the musical captures the pulse, romance, and youthful urgency that have defined Dirty Dancing for nearly four decades. This follows Lionsgate’s announcement that the Dirty Dancing sequel starring Jennifer Grey – from The Hunger Games producers Nina Jacobson and Brad Simpson– will begin production this year.

With a fresh creative approach to the timeless love story, this new production will tour North America with an aim to reconnect audiences with the heart, heat, and rebellious spirit that made Dirty Dancing a worldwide sensation.

Dirty Dancing is an enduring cultural phenomenon that began with the iconic film that grossed over $200 million at the worldwide box office and went on to launch two multiplatinum soundtrack albums, numerous #1 hit singles, won an Academy Award^® for Best Original Song and a Grammy^® Award for Best Pop Performance by a Duo or Group with Vocals. The original film is one of Lionsgate’s all-time best-selling library titles. This new North American stage tour aims to honor that legacy while reinventing the live experience for a new era.

DIRTY DANCING: THE MUSICAL is produced by The Path Entertainment Group in conjunction with Lionsgate and Magic Hour Productions.

The creative team includes set design by Brett J. Banakis, costume design by Emily Rebholz, lighting design by Japhy Weideman, sound design by two-time Tony Award® winner Kai Harada, and video design by David Bengali. Casting is by The TRC Company / Claire Burke, CSA & Peter Van Dam, CSA, with music supervision and arrangements by Joseph Joubert. Alchemy Production Group serves as General Manager.

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PERFORMANCE SCHEDULE
Wednesday, September 9 – 7:00 p.m.
Thursday, September 10 – 1:00 p.m. & 7:00 p.m.
Friday, September 11 – 7:00 p.m.
Saturday, September 12 – 2:00 p.m. & 7:30 p.m.
Sunday, September 13 – 1:00 p.m. & 6:30 p.m.

Tuesday, September 15 – 7:00 p.m.
Wednesday, September 16 – 1:00 p.m. & 7:00 p.m.
Thursday, September 17 – 7:00 p.m.
Friday, September 18 – 7:00 p.m.
Saturday, September 19 – 2:00 p.m. & 7:30 p.m.
Sunday, September 20 – 1:00 p.m.

TICKET INFORMATION (As of July 13, based on availability and subject to change)
Individual tickets for DIRTY DANCING: THE MUSICAL are on sale now and range from $40.00 - $135.00 with a select number of premium tickets available. Ticket price listed is when purchased in person at the box office. Additional fees apply for online purchases. Tickets are available now for groups of 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. For more information, visit www.BroadwayInChicago.com.

ABOUT BROADWAY IN CHICAGO
Broadway In Chicago was created in July 2000 and over the past 26 years has grown to be one of the largest commercial touring homes in the country. A Nederlander Presentation, Broadway In Chicago lights up the Chicago Theater District entertaining up to 1.7 million people annually in five theatres. Broadway In Chicago presents a full range of entertainment, including musicals and plays, on the stages of five of the finest theatres in Chicago’s Loop including the Cadillac Palace Theatre, CIBC Theatre, James M. Nederlander Theatre, The Auditorium, and just off the Magnificent Mile, the Broadway Playhouse at Water Tower Place.
 

For more information and tickets, visit www.BroadwayInChicago.com.
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Overshadowed Theatre Productions brings fresh energy to one of musical theatre’s most enduring classics, offering a spirited and thoughtful take on My Fair Lady. This production leans into the story’s sharp contrasts - class and aspiration, control and independence - and invites audiences to see Eliza Doolittle’s transformation with new clarity. It’s a familiar tale, but Overshadowed’s staging makes it feel newly engaged and unexpectedly resonant.

Taking place in 1912, Edwardian London, My Fair Lady is the story of Eliza Doolittle (Kimberly Nicolosi), a resilient young woman who sells flowers for tuppence and whose Cockney accent marks her as invisible to the upper-class Londoners who pass her by. When she crosses paths with Henry Higgins (John Hacker), a brilliant but insufferably arrogant linguist, he boasts that he can remake her into someone society will accept - someone who can pass as a duchess at an embassy ball. What begins as a bet between scholars becomes a transformation that neither fully anticipates.

As Eliza endures Higgins’ relentless drills and dismissive temperament, she begins to outgrow the very mold he tries to force her into. Her ascent exposes the absurdity of class performance, the fragility of male ego, and the uncomfortable truth that respectability often demands erasing the people who need it most. By the time Eliza steps into high society, she is no longer Higgins’ creation but her own person - one who refuses to be spoken for, spoken over, or spoken down to.

The musical’s enduring tension lies in the question it never answers neatly: whether transformation is liberation or simply another form of confinement. My Fair Lady may dazzle with its elegance, but its heart beats in Eliza’s insistence that dignity is not something granted by others - it’s something claimed.

Lerner and Loewe’s My Fair Lady entered the musical theatre canon in 1956, following its development in 1955–56 and a Broadway premiere led by Julie Andrews and Rex Harrison. The story later reached an even wider audience with the 1964 film adaptation, starring Audrey Hepburn as Eliza and Rex Harrison reprising his stage role as Higgins, released on October 21, 1964.

Overshadowed’s current production of this defining musical is anchored by Kimberly Nicolosi, whose Eliza Doolittle grows with steady assurance and a clear emotional arc that makes her transformation feel genuinely earned. Nicolosi is an absolute whirlwind of conviction, with vocals that match her intensity beat for beat, and a charm that makes her Eliza impossible to resist. Opposite her, John Hacker offers a thoughtfully restrained Henry Higgins, capturing both the character’s intellectual rigidity and the subtle shifts that reveal his dependence on Eliza, and his performance brings a compelling, understated complexity to the role. They shape the show’s strongest and most engaging dynamic. Surrounding them, Glen Lindemann brings gentle dignity to Colonel Pickering, while Madeline Frederick’s composed Mrs. Pierce adds welcome stability to Higgins’ household. Brad Holloman provides lively humor as Alfred P. Doolittle, and the Eynsford-Hill family - Sharon Lindemann as Mrs. Eynsford-Hill and Aren Dawson as Freddy - adds a touch of sweetness and refinement. Anita Silvert’s poised Mrs. Higgins offers a calm counterbalance to her son’s bluster, and she delivers a few of the play’s most pointed one-liners with crisp, knowing precision. Under Reba Hervas’ direction, the ensemble works together with easy cohesion, and Hervas guides the production with a steady, confident hand that keeps the storytelling clear, warm, and consistently engaging.

Though wrapped in Edwardian charm, My Fair Lady carries a clear feminist undercurrent, rooted in Eliza’s fight for self-determination. Her journey is not simply one of refinement but of agency - choosing to reshape her life, challenge the limitations imposed by class and gender, and ultimately assert her independence from Higgins’ control. The production highlights how her transformation belongs to her alone, not to the men who presume to mold her, allowing the story’s critique of patriarchal entitlement and its celebration of female autonomy to resonate beneath the musical’s elegance.

The production’s musical backbone shines through beloved highlights such as “Wouldn’t It Be Loverly,” “The Rain in Spain,” “I Could Have Danced All Night,” and “On the Street Where You Live,” each handled with care under Karen Archbold’s attentive music direction. The staging moves with an easy flow thanks to Katy Smith’s well-shaped choreography, which keeps the transitions light and the ensemble well-coordinated. These elements honor the classic craftsmanship of Alan Jay Lerner, who penned the book and lyrics, and Frederick Loewe, whose score remains one of musical theatre’s most enduring treasures.

The set design stands out as one of the production’s most impressive achievements, delivering a level of polish that will surprise audiences unfamiliar with Overshadowed’s work. Thoughtfully constructed and visually cohesive, it creates an environment that supports the storytelling without ever overwhelming it. This marks the first production by the company to utilize a massive video board, and its use is highly successful - enhancing the world of the play with vivid, effective projections that expand each location with striking clarity. The video board works in concert with well-crafted props and scenic pieces that are seamlessly brought in when needed, creating transitions that feel both fluid and purposeful. The scenic and projection work by Yohannan Lee adds depth and atmosphere, giving each setting a sense of place and intention. Complementing the world onstage, Megan Wilburn’s costume design brings the period to life with authenticity, from the tailored silhouettes to the women’s elaborate Edwardian picture hats, which add a flourish of social detail and visual charm. All of these design choices elevate the production with a craftsmanship that feels both ambitious and warmly inviting.

Stepping back from the production itself, Overshadowed Theatre reveals a company with a purpose that complements the kind of storytelling seen on their stage. I was struck by how deeply rooted their mission is in creating a welcoming, family-friendly space where storytelling and community go hand in hand. Their history reflects a commitment to mentorship and faith-centered values, with an emphasis on giving young performers a place to grow while offering audiences productions that uplift rather than overwhelm. Overshadowed cultivates an environment built on encouragement, accessibility, and shared experience. The company resides within Jubilee Bible Church in Medinah, IL, and the theatre is fully ADA accessible, with vast and easy parking, spacious corridors, and plentiful concessions that make the audience experience comfortable from the moment you arrive.

Audiences can also look forward to a whimsical shift in tone as the company prepares to stage A Midsummer Night’s Dream, bringing Shakespeare’s mischievous magic, tangled romances, and fairy-filled forest to life. Following that, their upcoming season offers a wide range of titles: Flame of Fire (Sep 18–Oct 10, 2026), an original play written and directed by Artistic Director Reba Hervas. Based on the true 1956 story of Operation Auca, the production recounts the lives of missionaries Jim Elliot, Nate Saint, Pete Fleming, Ed McCully, and Roger Youderian, who were killed while attempting peaceful contact with the isolated Huaorani tribe in Ecuador. The play also explores the extraordinary aftermath, as their wives chose to return to the jungle to forgive the tribe and continue living among them. The season continues with It’s a Wonderful Life (Nov 27–Dec 19, 2026), James and the Giant Peach (Jan 22–Feb 6, 2027), The Stranger by Agatha Christie (Mar 12–20 and Apr 1–10, 2027), and Titanic the Musical (July 9–31, 2027). It’s an ambitious slate that blends classic storytelling, family favorites, and dramatic intrigue, promising a season with something for every kind of theatre-goer.

Overshadowed Theatre’s My Fair Lady emerges as a thoughtful production with a clear point of view, delivered with care both onstage and behind the scenes.

Recommended.

For more show information and tickets, visit https://www.overshadowed.org/.