Displaying items by tag: Chicago

Gary Gulman brings his new tour, 7th Hour: An All New Standup Show, to The Den Theatre, offering Chicago audiences a chance to see a comic who has spent decades refining the long-form, slow-burn style that has become unmistakably his. His five sold-out shows over the weekend are being recorded for an upcoming comedy special, giving each performance an added spark as he works through material with both confidence and care. Gulman’s comedy has always lived in the space between sharp observation and gentle self-reflection, and this latest set continues that progression with a mix of wry honesty and carefully shaped storytelling. His stop at The Den feels less like a routine tour date and more like a chance to watch a veteran performer stretch into new territory while still delivering the precision that has made him one of stand-up’s most quietly dependable voices.

The evening opened with Evanston’s own Sam Froum, whose set proved to be a sharp and genuinely funny warm-up for the night. He brought an easy confidence and a quick, clever rhythm to the stage, landing jokes with the kind of timing that immediately pulls a room in. It was a strong showing, and a fitting lead-in to Gulman’s tightly built headlining act.

Across 7th Hour, Gulman moves through a wide constellation of personal history, weaving together stories that span his depression, his admiration for his father’s unwavering integrity despite the loss of friends it may have cost him, and the realities of growing up with a single mother while navigating the rough edges of two bullying older brothers. His Jewish upbringing becomes a recurring thread, most notably in an extended, delightfully overthought retelling of the story of Moses - a bit that shifts from biblical epic to neurotic character study in a way only he can pull off. From there, he wonders aloud why Jewish people didn’t simply “like” Jesus so that Christianity might have evolved into an upbeat, colorful, pastel-tinted sect of Judaism, only to immediately challenge his own premise with the kind of self-correcting logic that fuels his best material. That exploration leads him into Jesus’ Sermon on the Mount, where he zeroes in on “do unto others as you would have them do unto you,” a phrase he deeply takes to heart, breaking it down with methodical curiosity as he imagines Jesus trying it out in front of smaller crowds at "open mounts" before delivering it on the big stage. Along the way, he has fun with the apostles - especially John and “Doubting” Thomas - treating them less as distant religious figures and more as characters he can analyze, tease, and reinterpret through his own gently overthinking lens. He even slips in a detour to Christian Bale’s Batman, acting out a hilarious gravel‑voiced exchange with Gary Oldman’s Commissioner Gordon that fits seamlessly into his stream of overthought observations.

He also devotes time to the values and education he drew from PBS, especially the steady presence of Mr. Rogers, whom he references with undeniable affection. Gulman lights up when recalling – and briefly singing – the closing song, “It’s Such a Good Feeling,” along with the simple but radical reassurance Mr. Rogers offered at the end of each episode: “I like you just the way you are.” He treats that sentiment with an earnest respect that shows how deeply it shaped him, even as he wonders aloud how anyone can truly live as their full, unfiltered self outside of a very small circle of people. He folds in humorous family stories tied to pledge drives, broadening the emotional palette of 7th Hour and grounding the comedy in the cultural touchstones that helped him make sense of the world long before he ever stepped onstage.

Gulman’s humor is a distinct blend of long-form storytelling, analytical overthinking, gentle self-examination, and slow-burn observational detail. He builds jokes the way essayists build arguments - layering premises, revisiting ideas, correcting himself mid thought, and letting the comedy emerge from the precision of his logic as much as from the punchline. His style is warm, meticulous, literary, and deeply human, often turning small moments from childhood, religion, or pop culture into sprawling, carefully engineered comedic set pieces.

And in 7th Hour, he brings that entire toolkit with him - sharper, fuller, and more emotionally grounded than ever. The show feels like Gulman operating at the height of his powers, shaping personal history into comedy with a confidence that suggests he knows he’s building material worthy of an upcoming special. What stands out most is how fully he leans into that mastery; 7th Hour plays like a comic working with total clarity of purpose and delivering exactly the kind of work only he can create.

Gulman’s career has been shaped by a steady run of smart, carefully built specials that highlight his gift for long-form comedy. From Boyish Man and In This Economy? to the critically praised It’s About Time and The Great Depresh, he has assembled a body of work defined by warmth, clarity, and an almost literary sense of structure. His stand-up has also been a reliable presence on late-night television, with memorable sets on Conan, The Late Show with Stephen Colbert, Jimmy Kimmel Live, and The Tonight Show, each showcasing his ability to turn everyday frustrations and cultural quirks into slow-building, sharply observed stories. Together, these appearances have cemented him as one of the most consistent and quietly influential voices in contemporary stand-up.

If you get the chance to see Gulman live, take it. 7th Hour shows a comedian in full command of his craft, delivering work that is thoughtful, funny, and unmistakably his. It’s the kind of performance that reminds you why stand-up, at its best, feels both intimate and expansive at the same time.

Is there anything more alluring than a summer night in Chicago? The lakefront beaches, the meandering pathways, the festivals and street foods, the hidden gardens where free art productions are staged, whatever you like, you can find it in the city during summer evenings. There is no shortage of parks to explore or cultural events to experience, thanks in part to the Mayor’s Night Out in the Parks program that partners with organizations to stage free artistic experiences in neighborhood parks all around the city. One such organization kicked off its summer series with a spectacular – and free – performance of Shakespeare’s As You Like It, now playing throughout Chicago parks through August 2^nd.

Shakespeare’s As You Like It is a comedy that follows Rosalind and Orlando, two lovers who each run away from their own political and familial problems and escape into the Forest of Arden. Disguised as a shepherd boy, Rosalind finds Orlando and convinces him to woo her under the guise of curing him of his love for Rosalind. Multiple couplings occur, lessons of life and love are expounded on, and, as every Shakespeare comedy does, As You Like It ends with a wedding – four to be precise.

foreground - Thomas Russell and Connor O. Locklin. Photo by Steven Townsend, Distant Era.

As You Like It is the 2026 production of Midsommer Flight, a theatre troupe that stages high-quality, accessible performances of Shakespeare’s plays in Chicago. Directed by Producing Artistic Director Beth Wolf, this summer’s production continues to delight audiences and draw crowds, presenting free performances to Chicago communities that aim to bring people together. Midsommer Flight is an Arts Partner with Chicago Park District and a participant in the Mayor’s Night Out in the Parks initiative. They will be performing the classic Shakespeare comedy throughout the summer at different neighborhoods throughout the city, but if you think you’ve seen a Shakespeare production, (seen one, seen them all, right?) I beseech you to venture to one of the parks. At the best of times, Shakespearean stories can be difficult to follow: analogous phrasing, double entendres, prosaic old-timey insults, and slurs; it’s not always easy to follow. Midsommer Flight, however, gives the old texts modernity, witty asides, and an expressive atmosphere that makes the play easy to follow and understand. The acting is superior, and the inclusivity is a delightful and refreshing display of humanity at its finest. Talent of the Midsommer Flight cast would rival that of any Shakespearean theatre company, charging hundreds of dollars for seats, and staging productions in grand halls. And the best part? The productions are completely free to the public. The accessibility, the garden park scenery, and the flowy costuming truly provide a magical experience, embodying the spirit, humanity, and beauty of the arts.

There are many benefits to living in and around the Chicagoland area, but summertime really brings out the best and brightest Chicago has to offer. Night Out in the Parks is but one of the many incredible accessible programs bringing cultural events to neighborhoods to “amplify the artistic and cultural vibrancy of our city in every neighborhood and enhance quality of life across Chicago.” Find out more about Night Out in the Parks here. When initiatives such as this meet the grassroots talent and love shown by Midsommer Flight, magic happens. Whether you like it because it’s in your local park or you like it because it is free, there is truly something for everyone this summer in Chicago. You can truly have it just as you like it. As You Like It will be performed outdoors at six Chicago parks through August 2^nd. Learn more about Midsommer Flight and its mission, and check out the list of upcoming performances at parks throughout Chicago and reserve your free space today!

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 1980 phenomenon of Balm in Gilead, to The Grapes of Wrath, August: Osage County, Downstate, The Brother/Sister Plays, and now, the 2025 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 1975 by Terry Kinney, Jeff Perry and Gary Sinise, Steppenwolf started as a group of young people in their teens and early 20s performing in the basement of a church. 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.

For its 13^th free summer production, Midsommer Flight will present one of Shakespeare's most highly regarded and popular comedies. AS YOU LIKE IT, known for its witty dialogue, pastoral setting, and the strong female lead Rosalind, is one of Shakespeare's 10 most frequently produced plays. It takes some of Shakespeare's frequent tropes - intra-family conflicts, gender disguises, and lovers who must overcome obstacles in order to be together – and creates a lighthearted, romantic comedy that has been praised for its sophisticated banter. True to the comedy's famous line – "All the World's a Stage" – Midsommer Flight will again be creating natural stages in six Chicago parks over six summer weekends. The company will crisscross the city, with performances on the near south side (Chicago Women's Park and Gardens), farther south at Nichols Park in the Hyde Park neighborhood, the west side (Kelvyn Park), and the north side (Gross (Theodore) Park in Lincoln Square, Winnemac Park in Ravenswood, and Touhy Park in Rogers Park). Opening night is Friday, June 26 at 6 pm at Chicago Women's Park and Gardens, 1801 South Indiana Avenue in the South Loop (Near South Side).
 
Founding Artistic Director Beth Wolf (she/her/hers), named one of NEW CITY STAGE's 2026 "50 Players Who Really Perform for Chicago," announced her cast of 12 principals and six understudies today. Appearing as Rosalind, who like her father Duke Senior is banished from court by her uncle Duke Frederick, is Stephanie Mattos* (she/her). Barry Irving* (he/him) will play both Duke Frederick and Duke Senior. Orlando, who is attracted to Rosalind and flees to the Forest of Arden to escape a death threat from his brother, will be played by Thomas Russell (he/they). Orlando's brother, Oliver, will be played by Ian Voltaire Deanes (he/him). Ebby Offord* (she/they) will appear as Rosalind's loyal cousin Celia, who travels to the forest with Rosalind. Accompanying Rosalind and Celia to the forest is Touchstone, the Court Jester, to be played by Chase Wheaton-Werle. Jack Morsovillo* (he/him) will be Jaques, a melancholy and dramatic lord who camps with Duke Senior in the forest.
 
In the forest, the exiles meet the shepherds Silvius (Brandon Beach*, he/him) and Audrey (Jennifer Mohr, she/her). Silvius has unrequited love for the shepherdess Phebe (Triniti Cruz, she/her), who falls in love with Rosalind while Rosalind is disguised as a man. Meanwhile, Audrey is charmed by Touchstone.
 
Also in the principal cast are Connor O. Locklin (he/him) in multiple roles (Charles / First Lord in forest / MarText / Second Brother), and Riley Samuel Merritt (he/him) as Amiens and First Lord at court. The understudies are Alexander P. Garza (he/him, u/s Duke Frederick and Duke Senior), Jerome Michael Jones (he/him, u/s Orlando, Oliver), MJ Handsome (she/they, u/s Rosalind, Celia), Robert Wood Frank (he/him, u/s Silvius, Touchstone), Matt Keeley (he/him/his, u/s Charles / First Lord in forest / MarText / Second Brother, Jaques, Amiens), and Siyi Wang (she/her/hers, u/s Audrey, Phebe).

The AS YOU LIKE IT production team will include Rachel Sypniewski (she/her/hers, Costume Designer), Jeremiah Barr (he/him/his, Scenic/Props Designer), Jack Morsovillo* (he/him/his, Music Director), Will Wilhelm (they/them/theirs, Text Coach), Bryson David Hoff (he/him/his, Vocal Coach), Courtney Abbott (they/them/theirs, Intimacy Director), Thomas Russell (he/they, Fight Director), Becca Holloway (she/her/hers, Casting Director), Hailey Piorek (she/her/hers, Stage Manager), Chloe Steuber (she/her/hers, Assistant Stage Manager), and Joshua Pennington* (he/they, Assistant Director).

*Indicates Midsommer Flight Artistic Ensemble member
 
Midsommer Flight's productions are performed in natural sunlight and without amplified sound, much as they were done in the Bard's day. Midsommer Flight has become one of Chicago's best-loved and most highly regarded producers of free summer Shakespeare. THIRD COAST REVIEW's Nancy Bishop, in her 3-1/2-star review of 2024's ROMEO AND JULIET summed it up by writing, "Is there anything as lovely as theater in the park on a warm summer evening?" Tristan Bruns of NEW CITY said in his review of 2025's LOVE'S LABOUR'S LOST, " ...the sun had died down and a light breeze cut the humidity. Monarch butterflies tumbled through the air and rested on laps. Midsommer's ebullient take on Shakespeare matched the surroundings perfectly...This is the Shakespeare I want to see on a cool summer evening, sitting in a folding chair and sipping a LaCroix beside a butterfly companion."
 
LISTING INFORMATION

AS YOU LIKE IT
By William Shakespeare
Directed by Producing Artistic Director Beth Wolf
June 26 - August 2, 2026
Fridays, Saturdays*, and Sundays at 6 pm, Thursday, July 2 at 6 pm
*No performance Saturday, July 4
Admission is free (donations gladly accepted)
Opening night – Friday, June 26, 6 pm in Chicago Women's Park and Garden, 1801 S. Indiana Ave, 60614
 
Performed in six different Chicago Park District parks

• June 26, 27, 28 at Chicago Women's Park and Garden, 1801 S. Indiana Avenue, 60616
• July 2, 3, 5 at Gross (Theodore) Park, 2708 W Lawrence Avenue, 60625
• July 10, 11, 12 at Nichols Park, 1355 E 53rd Street, 60615
• July 17, 18, 19 at Kelvyn Park, 4438 W Wrightwood, 60639
• July 24, 25, 26 at Winnemac Park, 5100 N Leavitt, 60625
• July 31, August 1, 2 at Touhy Park, 7348 N Paulina Avenue, 60626

AS YOU LIKE IT is a vibrant Shakespearean comedy that wittily explores love and gender roles. Banished from court by her uncle, Rosalind escapes to the Forest of Arden, where she disguises herself as man in order to win over her lover by trying to convince him he should forget her. The play examines various types of love—from passionate to superficial to mature—offering a nuanced look at romantic relationships and human connection and playfully exploring the fluidity of gender roles. Audiences are encouraged to come early and bring a picnic to enjoy this free programming. Seating is first-come, first-served, and audience members can bring their own blankets or chairs. 

Free Reservations are encouraged but not required. Those with reservations will be contacted in the event of weather cancellations or other last-minute updates. Reservations will be available through the Midsommer Flight website at www.midsommerflight.com beginning on June 1. Show information on website at www.midsommerflight.com, including detailed schedule and info about directions and parking at each park.
 
ABOUT MIDSOMMER FLIGHT. Midsommer Flight is a theatre company dedicated to presenting high quality, accessible productions of Shakespeare's plays in Chicago communities. After the company's well-received inaugural production of A MIDSUMMER NIGHT'S DREAM in 2012, the Chicago City Council honored Midsommer Flight with a resolution praising "the Midsommer Flight theater troupe on their dedication to bringing the arts to underserved communities."  The company incorporated as a not-for-profit in the state of Illinois in early 2013 and has produced ROMEO AND JULIET (2013, 2024), MUCH ADO ABOUT NOTHING (2014), MACBETH (2015), TWELFTH NIGHT (2015, 2016, 2017, 2018, 2019, 2021, 2022) AS YOU LIKE IT (2016), HAMLET (2017), THE TWO GENTLEMEN OF VERONA (2018), THE TEMPEST (2019), A MIDSUMMER NIGHT'S DREAM (2012 AND 2022), CYMBELINE (2023), and LOVE'S LABOUR'S LOST (2025). The company was nominated in 2019 for the third time for the League of Chicago Theatres "Emerging Theatre Award."
 
Midsommer Flight is committed to presenting financially accessible theatre. Productions are 100% free to the public (donations gratefully accepted). Audiences are encouraged to come early and bring a picnic to enjoy this free programming. For more information visit www.midsommerflight.com. 
 
ABOUT NIGHT OUT IN THE PARKS
 
AS YOU LIKE IT is presented as part of the Chicago Park District's Night Out in the Parks series, supported by the Mayor's Office and the Chicago Department of Cultural Affairs and Special Events. The Night Out in the Parks program presents cultural events year-round in neighborhood parks throughout the city. The Chicago Park District in partnership with local artists and organizations, presents engaging events and performances that enhance quality of life across Chicago and amplify the artistic and cultural vibrancy in every neighborhood. Through multiple disciplines, which include theater, music, movies, dance, site-specific work, nature programs, and community festivals, the series aims to support Chicago-based artists, facilitate community-based partnerships and programs, cultivate civic engagement, and ensure equity in access to the arts for all Chicagoans. For more information, please visit www.nightoutintheparks.com.

Chicago Magic Lounge, Chicago's home for close-up magic, announces the return of world-renowned magician Ondřej Pšenička in a limited run of his hit show 52 Lovers, directed by Stepan Gajdos. Spend an evening with one of magic's most inventive contemporary voices in 52 Lovers, an intimate performance presented up close in Chicago Magic Lounge's Harry Blackstone Cabaret theater. Quirky, disarming, and brilliantly original, Pšenička blends offbeat humor with world-class sleight of hand in a style entirely his own.

52 Lovers plays Wednesdays at 7:00pm, July 1 – August 26, 2026. Tickets are priced $44 (Standard) and $50 (Front Row), plus applicable fees. Tickets for all Chicago Magic Lounge shows are available at the box office, (312) 366-4500 or online at chicagomagiclounge.com.

A true innovator, Ondřej combines original creations with expertly curated effects, delivered with a playful unpredictability that keeps audiences leaning in. With a subtle current of absurdism throughout, 52 Lovers is sharp, surprising, and delightfully off-center—showcasing expert technique with an effortless touch that makes the impossible look easy.

Each evening begins with close-up magic performed right at your table by Chicago Magic Lounge's talented house magicians. Between visits, guests can socialize, enjoy craft cocktails and small plates, and take in the vintage ambiance of the Harry Blackstone Cabaret.

About Ondřej Pšenička (pronounced ON-dray psheh-NEETCH-kuh)
Ondřej Pšenička is a world-renowned magician celebrated for his inventive approach to card magic and close-up performance. Hailing from the Czech Republic, he has performed on stages across the globe and is a regular at the World Famous Magic Castle in Hollywood, California. Known for his quirky humor, subtle surrealism, and technical mastery, Pšenička has baffled audiences worldwide, most notably fooling Penn & Teller three times on Penn & Teller: Fool Us. His creations blend originality, precision, and playfulness, making every performance unforgettable.

Also Happening at Chicago Magic Lounge

The Close-Up Show
Mondays at 7:00pm
Tickets: General Admission $35 - $37

The Showcase
Tuesdays at 7:00pm
Tickets: Standard: $37.50 - $39; Front Row: $42 - $44

The Signature Show
Thursdays-Sundays at 7:00pm, Fridays & Saturdays at 10pm
Tickets: Front Row $89.50 - $103, Premium Main Floor (main floor banquette and main floor cabaret) $76.00 – $95.00, Standard (rail and elevated banquette) $68.50 - $84, Mezzanine $55.00 – $68.00

Tickets for all Chicago Magic Lounge performances are available at the box office, (312) 366-4500 or online at chicagomagiclounge.com. Chicago Magic Lounge is a 21+ venue. Ages 16+ allowed to ticketed evening shows with a legal guardian.

For a complete schedule of performances and more information about Chicago Magic Lounge, resident and guest performers, and more, please visit chicagomagiclounge.com.

Real Chicagoans don’t gatekeep hidden gems. Whether it’s hidden bars behind laundromats, the best Billy Goat location (under Mag Mile), the best desserts or street tacos, the best place to catch a local game (insert season + sport), or a must-see show or concert, real Chicagoans share the hidden gems and surprise experiences. They share because it's thoughtful, considerate, and they want others to experience the same joy and elation they themselves experienced. Most importantly, they want to talk about the shared experience after, preferably at a hidden beach adjacent gem. Today’s hidden gem is TUTA, a theatre company staging a heavy-themed production of Crime and Punishment.

The story of Crime and Punishment follows the mental anguish and moral dilemmas of Rodion Raskolnikov, an impoverished former law student in Saint Petersburg who plans to kill an unscrupulous pawnbroker. The play is a stage adaptation of Fyodor Dostoevsky's 1866 novel of the same name, co-written by Marilyn Campbell and Curt Columbus. The authors of the adaptation condensed a heavily philosophical and psychological novel into a 90-minute, three-person play where the actors portray multiple characters without losing any of the depth or themes conveyed in the novel. Themes like isolation, morally gray ambiguity, faith, and fairness all still resonate today over 100 years later.

The TUTA Theatre (The Utopian Theatre Asylum) really proves that good things really do come in small packages. The small theatre found through an alleyway and accessed through a garage provided an unintentional eerie setting, winding your way to a small enclosure similar to the run-down windowless room the protagonist lives in. The minimalist-yet-evocative stage design also lent itself to the poignantly punishable psychology of Dostoevsky's play. By having Raskolnikov kneeling in dirt in supplication, having characters move behind sheer yet blurry plastic tarps, making you question if they were really there or if the character was descending into the madness of his own logic. In a way, the stage was the fourth cast member, moodily setting the tone with lights and effects that aided the claustrophobic and alienation the protagonist was showing on stage. And big talent filled the room with the incredible talent of TUTA company members Felix as Sonia, Huy Nguyen as Inspector Porfiry, and Clifton Frei as Raskolnikov.

TUTA is a fascinating theatre company with a pay-what-you-choose ticket structure. As a non-profit theatre, TUTA relies on ticket sales as well as grants, donations, and in-kind gifts of labor and talent to create art. For Crime & Punishment, for example, a price of $100 per ticket is what it would take to cover the costs of the production. By choosing a higher ticket price, you are creating opportunities for others to attend at lower prices who may not be able to enjoy this performance otherwise. If you want a guaranteed seat in the small theatre, reservations are available online, and you can choose one of four suggested prices ($20, $45, $60, and $100). The higher price you pay or donate, the more affordable future tickets can become throughout the production’s run time.

Whether a production is staged in a garage that borders the Brown Line or the finest auditoriums the city has to offer, Chicago proves time and time again that it houses a thousand treasures. And if you don’t know how to find them, don’t worry, there’s always a friendly Chicagoan ready to tell you all about it. Crime and Punishment is now playing at the TUTA Theatre (4670 N. Manor, Chicago) through August 23rd. To purchase reservations and guarantee a seat to the performance of your choice, visit www.tutatheatre.org. It'd be a Crime if you didn't get the chance to see this one.

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

safronia at Lyric Opera of Chicago emerges as a deeply personal story of the Great Migration - one that resists grandiosity in favor of something more intimate, more lived-in, and ultimately more affecting. Drawn from the family history of Chicago’s inaugural Poet Laureate avery r. young, the work feels less like a conventional opera and more like an embodied poem, carried on breath, rhythm, and memory.

Young himself, as Fiery Baar Booker, gives a performance that is searing. There is fire in his portrayal - a man negotiating identity, displacement, and legacy. Opposite him, Maiesha McQueen’s Magnolia is the emotional anchor of the piece. Her performance radiates warmth and steadiness, embodying the sustaining force of family amid upheaval. She nurtures without sentimentality, giving Magnolia strength.

Lorenzo Rush Jr. brings a charismatic edge to King Willie Tate, a figure caught between aspiration and instability. His chemistry with Meaghan McNeal’s safronia is particularly compelling. McNeal delivers a spiritual performance - her safronia is less a single character than a vessel of generational memory, carrying the emotional weight of those who moved, hoped, and endured.

The company of safronia. Photo by Kyle Flubacher.

The looming presence of white power is sharply rendered through Zachary James as Cholly and Jeff Parker as Bossman. Their performances are unsettling not because they are exaggerated, but because they are so matter-of-fact. The banality of their authority underscores the systemic nature of the oppression the Booker family faces.

The ensemble - Bailey Haynes Champion, Sydney Charles, Miciah Lathan, Eric Andrew Lewis, Renelle Nicole, Jessica Brooke Seals, Maxel McLoud Schingen, and Kendal Marie Wilson - serves as a living chorus, shifting seamlessly between roles while maintaining a unified emotional pulse. They embody community, memory, and migration itself.

Musically, Paul Byssainthe Jr.’s conducting and orchestration weave together spirituals, blues, and textures into a soundscape that feels both rooted and expansive. Under Timothy Douglas’s direction, the production is carefully shaped, allowing stillness and movement to coexist in a way that honors the story’s emotional depth.

Yet for all its power, safronia at the Lyric Opera feels like a work yearning for closer quarters. Its most resonant moments are the quietest ones - the glances, the silences, the shared breath between performers and audience. It is fitting, then, that the production will be remounted at Court Theatre in May 2027. In that more intimate space, safronia may fully realize its potential, allowing audiences not just to witness the story, but to feel it - deeply, personally, and without distance.

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

Steppenwolf Theatre Company’s, Windfall arrives with all the promise its pedigree suggests. Written by Academy Award–winning ensemble member Tarell Alvin McCraney and directed by Awoye Timpo, the production aspires to be a pulsing, lyrical meditation on grief, justice, and the uneasy intersection of activism and capitalism. What unfolds instead is a work rich in intention but frustratingly elusive in execution.

The play centers on a protest encampment that erupts into violence, culminating in the shooting of Eli, a member of Never Wrestle Justice - a group of activists unafraid to raise their voices. In the aftermath, Marcus (Glenn Davis), who has transitioned, lingers alongside his aging adoptive father, Mr. Mano (Michael Potts). Mano is left reeling, unable to fully accept the reported death of his child, Eli (Esco Jouléy). It’s a potent premise: a father who refuses to confirm his child’s death, a government eager to offer a financial settlement, and a moral dilemma that questions whether survival can - or should - be measured in dollars. Tarell Alvin McCraney frames the story as a “chosen family” drama, but the emotional foundation never fully coheres.

Marcus urges Mano to identify Eli’s body and accept the settlement, arguing that “blood money is still money.” Yet Mano resists, clinging to the unbearable ambiguity of loss. The arrival of various state representatives - played with dynamic range by Alana Arenas as First Lady, Miss Second, and The Last One - pushes the narrative into increasingly surreal territory. These figures, along with Jon Michael Hill and Namir Smallwood in multiple roles, embody a bureaucratic machine that is at once apologetic, predatory, and opaque.

There are flashes of McCraney’s signature lyricism, particularly in the spectral appearances of Eli. Whether ghost, memory, or manifestation of guilt, Eli’s presence should anchor the play’s emotional core. Instead, it muddies the stakes. When Eli ultimately reappears - alive, defiant, and ready to fight - the revelation feels less like a cathartic turn and more like a narrative sleight of hand that the play hasn’t earned.

This points to the central issue: the characters are too thinly drawn to sustain the weight of the play’s ideas. We see Mano’s grief, Marcus’s urgency to settle, and Eli’s activism, but we rarely feel them. The stakes, which should be life-altering, register as curiously low. Even the moral dilemma - to take the money or resist the system - never fully ignites because the emotional investment isn’t there.

Timpo’s direction leans into the play’s abstraction, emphasizing its communal and ritualistic elements. At times, this works; the staging has a fluidity that suggests a world where reality and memory bleed into one another. But the lack of clarity ultimately undermines the experience. Confusion becomes less a deliberate aesthetic choice and more a barrier to engagement.

There is also the question of place. Though the play is set in Chicago, it rarely feels rooted there. References to Rainbow Beach or Pequod’s Pizza read as surface-level markers rather than lived-in details. For a story so deeply tied to protest, policing, and community, the absence of a tangible sense of Chicago is a missed opportunity.

Still, the performances strive to elevate the material. Arenas is the undeniable standout, bringing vitality and nuance to each of her roles. Whenever she takes the stage, the play briefly finds its pulse. Potts lends dignity to Mano, though the script gives him limited room to build a fully realized arc.

McCraney has proven himself to be a playwright of profound depth and clarity. Windfall gestures toward that brilliance but never quite achieves it. It is a communal experience, yes - but one that leaves you searching for emotional and narrative footing long after the final moment fades.

Somewhat Recommended

When:   Through May 31

Where:  Steppenwolf Theatre, 1650 N. Halsted

Tickets: $20 - $148.50

Box Office: 312-335-1650

www.steppenwolf.org

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