Displaying items by tag: Theater Wit

Shattered Globe Theatre is pleased to open its 36^th Season with the Midwest premiere of Erika Sheffer's Vladimir, an unflinching drama of resistance directed by Ensemble Member Lou Contey*, playing October 2 – November 14, 2026 at Theater Wit, 1229 W. Belmont Ave. in Chicago's Lakeview neighborhood. Single tickets ($20 – $60) are now on sale at SGTheatre.org, by calling (773) 975-8150 or in person at the Theater Wit Box Office. 

Vladimir features Ensemble Members Rebecca Jordan*, Drew Schad* and Adam Schulmerich*, Associate Artist Steve Peebles⁺, with Isabel Alamein, Kseniya Janyan, Juliana Liscio, Laila Malak, Tristan Odenkirk and Ben Perry.

About the Production:

In a world where facts are manipulated and fear is currency, the truth becomes dangerous.

As a new authoritarian government tightens its grip on Russia, Erika Sheffer's Vladimir follows an independent journalist who uncovers a story that could expose the truth behind a nation in transition. But when every headline comes with consequences and every source becomes a target, she must decide how much she's willing to sacrifice for the story. Vladimir is a gripping political thriller about what happens when silence becomes complicity.

The production team includes Joe Shermoly (Scenic Designer), KClare McKellaston (Costume Designer), Shelley Strasser* (Lighting Designer), Christopher Kriz+ (Original Music and Sound Designer), Cecilia Chan (Props Designer), Erin Pleake (Projection Designer), Elise Kauzlaric (Dialect Coach), Maren Robinson (Dramaturg), Catherine Miller (Casting Director), Ellie Fey* (Assistant Lighting Designer), E Tylkowski (Production Manager), Nick Peebles (Technical Director), Leah Donovan (Lead Electrician), Tina M. Jach* (Production Stage Manager) and Emily Nicholas (Assistant Stage Manager).

*Denotes SGT Ensemble Member  ⁺Denotes SGT Artistic Associate

Vladimir

Playwright: Erika Sheffer
Director: Ensemble Member Lou Contey
Cast (in alphabetical order): Isabel Alamein (Daughter, Masha, TV Crew), Kseniya Janyan (Chovka, Makeup Lady), Rebecca Jordan* (Raya), Juliana Liscio (Galina), Laila Malak (Tatiana, Bartender, Book Clerk), Tristan Odenkirk (Yevgeny, Cameraman), Steve Peebles⁺ (Andrei, Old Man, Deacon), Ben Perry (Director, Vitaly, News Personality, Sasha), Drew Schad* (Jim) and Adam Schulmerich* (Kostya).

Location: Theater Wit, 1229 W. Belmont Ave., Chicago

Dates: Previews: Friday, October 2 at 7:30 pm, Saturday, October 3 at 7:30 pm, Sunday, October 4 at 3 pm and Wednesday, October 7 at 7:30 pm

Opening: Thursday, October 8, 2026 at 7:30 pm

Regular run: Saturday, October 10 – Saturday, November 14, 2026
Curtain Times: Thursdays, Fridays & Saturdays at 7:30 pm; Sundays at 3 pm. Please note: there will not be a 7:30 pm performance on Friday, October 9 or Saturday, October 31; there will be an added 3 pm performance on Saturday November 14.

Tickets: Previews: $25. Regular run: $20 - $60. Student, veteran/active military and teacher discounts available. Single tickets are available at SGTheatre.org, by calling (773) 975-8150 or in person at the Theater Wit Box Office. Season Traveler memberships starting at $55 are also available. For information on group discounts, e-mail This email address is being protected from spambots. You need JavaScript enabled to view it. or call (773) 770-0333.

About the Artists:

Erika Sheffer (Playwright, Vladimir) is a playwright and screenwriter based in Los Angeles. Her first play, Russian Transport, premiered at The New Group and went on to productions at Steppenwolf as well as other regional and international theaters. The Fundamentals was commissioned and produced by Steppenwolf. Her latest play, Vladimir was commissioned by The Geffen Playhouse and received its world premiere at Manhattan Theatre Club. Honors include the Paula Vogel Playwriting Award, multiple TCG Edgerton Grants and an Outer Critics Circle Award nomination. She is an alum of Ars Nova Playgroup and a member of Center Theatre Group's LA Writer's Workshop. Erika has held commissions from Steppenwolf, The Geffen Playhouse, Center Theatre Group and Manhattan Theatre Club. Screen credits include Apple TV's Little America and Netflix's The Beast in Me (Writers Guild nomination). as well as multiple development rooms for Apple TV, Starz and Sony.

Lou Contey (Director, Vladimir) is a long-time Ensemble Member with Shattered Globe Theatre. He recently directed the multiple award-winning production of A View from the Bridge. Shattered Globe credits include The Manchurian Candidate, A Streetcar Named Desire, All My Sons, Who's Afraid of Virginia Woolf?, Peter Pan, Les Liaisons Dangereuse, Warhawks and Lindberghs, Holy Ghosts, Judgement at Nuremberg, Requiem for a Heavyweight, The Whaleship Essex, In the Heat of the Night, The Tall Girls, The Heavens are Hung in Black, and many others. Among his more than eighty directing credits are The Price, Awake and Sing!, It's All True, Copenhagen. Pravda, Paradise Lost, The General from America, A House with No Walls, Lillian, Frost/Nixon, The Guys and The Apple Family Plays, all at TimeLine where he is an Associate Artist. Other Chicago credits include The Master and Margarita (Strawdog Theatre); In a Garden (A Red Orchid Theatre); Marriage Play, Duck Variations (The Goodman Theatre) and Haymarket Eight (Steppenwolf). He has also worked at Theatre at the Center, Buffalo Theatre Ensemble, Provision Theatre, Eclipse Theatre and American Theatre Company. He has taught acting and directing for the theatre programs at UIC, The Acting Studio, Act One Studio and The Theatre School/DePaul University.

Isabel Alamein (Daughter, Masha, TV Crew, U/S Chovka, Makeup Lady, she/her) is thrilled to be a part of Vladimir! Recent favorite credits include the world premiere of Pilgrimage (Golden Thread Productions) and several feature films in post-production. Outside of acting, Isabel is a visual artist and dancer. Thank you to the production team, and to every person speaking truth to power.

Kseniya Janyan (Chovka, Makeup Lady, she/her) is an Armenian-Egyptian and Russian actress who's never quite settled anywhere, but who recently made the migration from her American home in New York to the welcoming, collaborative spirit of Chicago's creative community. Recent local credits include: King John (Circuit Theatre Company), Wish You Were Here (Remy Bumppo Theatre Company), How To Defend Yourself (Odds & Ends Theatre Company), Pigeon Whole (Eclectic Full Contact Theatre), Ubu: the King (Facility Theatre). She extends her gratitude to you and your continuous support of storefront theater, to the tireless and talented cast and crew of Vladimir, and most urgently – to the people behind the stories who fought for the humanity within them.

Rebecca Jordan (Raya, she/her) is super excited to reunite with director Lou Contey at their artistic home. Rebecca was most recently seen in the world premiere of Eelpout by Paul W. Kruse. And before that, in London Road, which received the Jeff Award for Best Production – Musical in 2024 – both at Shattered Globe Theatre, where she has been a founding ensemble member for 36 years. Other SGT favorites include Marvin's Room, Mill Fire, A View from the Bridge (Jeff nomination, best actress supporting), The Manchurian Candidate, All My Sons, Anna Karenina (Jeff nomination, best actress lead), Rocket to the Moon and Judgment at Nuremberg. Rebecca received Joseph Jefferson awards for her portrayals of Stella in A Streetcar Named Desire and for Pam in Frozen Assets at SGT. She also performed at the Goodman Theatre in House and Garden, Trojan Women and the world premiere of Rebecca Gilman's Blue Surge. In Los Angeles, Rebecca played the role of Susan opposite Ed Harris, Bill Pullman and the late Glenne Headley in the world premiere of The Jacksonian at the Geffen Playhouse, penned by Beth Henley and directed by Robert Falls. Other Los Angeles credits include The Butcher of Baraboo at The Road Theater, Fatboy (LA Ovation nomination for best comedic role) and Scarcity (LA Scenie award for best actress), both at Need Theater. Some TV credits include Chicago Med, Empire, PKD's Electric Dreams, Chicago Justice, Shameless, Eagleheart.  Rebecca has just finished penning her second feature film. She is grateful and proud to be represented by Stewart Talent, Chicago.

Juliana Liscio (Galina, she/her) is thrilled to return to Shattered Globe, where she was a 2022 Protégé and understudied Catherine in A View From the Bridge (Jeff Award Winner – Best Production; Best Director). She recently made her Los Angeles theatre debut in the world premiere of Julie Shavers' The Baptist Witches of Shelbyville, starring Mamie Gummer. Chicago theatre: The Diary of Anne Frank (Young People's Theatre of Chicago), Picasso at the Lapin Agile and Brighton Beach Memoirs (Citadel Theatre), Six Stories Up (co-writer/performer, Tellin' Tales Theatre), Dracula (Surging Films and Theatrics), A Midsummer Night's Dream (understudy, Oak Park Festival Theatre), The Jacksonian (Profiles Theatre) and Take Me Back (The Poor Theatre). Tour: Space Station Safety (The National Theatre for Children). Film: Smiles, The Vigil. Her play Rambutan received a reading through Steppenwolf's LookOut series. Her writing has also been developed through Chicago Dramatists and the Inclusive Playwright Project. Training: Loyola University Chicago; Fordham London Dramatic Academy; Beverly Hills Playhouse.

Laila Malak (Tatiana, Bartender, Book Clerk, she/her) is a Chicago-based actor/singer/writer who earned her BFA in Acting from Ball State University. She was last seen in Anatomy of a Suicide directed by Alex Mallory. Other credits include: DoProcess's reading of the new musical (out), 24 hour play festival: Ad Infinitum (Sub Rosa Theatre Collective), Our Town directed by David Little, An Enemy of the People adapted and directed by  Zoé Soteres, The Polar Express (Rail Events Inc.), Macbeth (Hoosier Shakespeare), The Children's Hour directed by Veronica Santoyo. Laila is thrilled to be making her Shattered Globe Theatre debut! Instagram: laila_malak24

Tristan Odenkirk (Yevgeny, he/him) is a Chicago actor making his debut at Theater Wit, one of his favorite stages in the city. Tristan received his Bachelor's in Theater from Augustana College in 2020 and graduated from the Chicago Black Box Drama School Actor's Studio training program in December of 2023. Tristan's work alternates between the professional and amateur. Most recently, he played Al Capone in Outta This World! at iO Theater. He also played Tibult with Midsommer Flight, and the lead in Trap Door's Fraudulent LLC.

Steve Peebles (Andrei, Old Man, Deacon) has worked with SGT in London Road (Jeff Winner, Best Musical, Nominee Best Ensemble) Becky Nurse of Salem, Hannah and Martin, Five Mile Lake, In The Heat of the Night, The Whaleship Essex and Our Country's Good. Other Chicago credits include: Macbeth (Three Crows), Spamalot! (The Mercury), Peter and the Star Catcher (Metropolis Performing Arts), Cyrano (Boho), Midsummer Night's Dream (First Folio) and Flanagan's Wake. Other credits: Kalamazoo Christmas! (Farmer's Alley Theater), Into The Woods (Two Pigs - Ratone, NM), The Shrew (P45 - Traverse City, MI), and seven tours with Montana Shakespeare in the Parks. Steve is an Artistic Associate with SGT, a graduate of North Central College, and has been featured on The Moth Radio Hour after winning the Moth GrandSlam in 2022.

Ben Perry (Director, Vitaly, News Personality, Sasha, he/him) is excited to be returning to SGT! Chicago credits include A View From The Bridge (Shattered Globe Theatre), Antigone, Dante 360 (Athenaeum Center), The Elephant Man (Surging Film & Theatrics), The Tragedy of King Christophe (House Theatre of Chicago), The Prodigal Prince (The Veil Theatre) and performing with the Harold Team Jackie Bass at Improv Olympics. Regional credits include Noises Off, Young Frankenstein, Murder on the Orient Express, Stranger Sings (Wolfbane Productions), The Complete Works of William Shakespeare Abridged, Parade, Newsies and The Will Rogers Follies (Alluvion Stage Company).

Drew Schad* (Jim, he/him) is excited to be back on stage at Shattered Globe Theatre, where he has been an ensemble member since 2009. Drew has appeared in over 15 SGT productions, including: Rasheeda Speaking, Sheepdog, Hannah and Martin, Crime and Punishment, Five Mile Lake, The Heavens Are Hung in Black, In the Heat of the Night, The Rose Tattoo, The Whaleship Essex, Mill Fire, Our Country's Good, Happy Now?, Her Naked Skin, Orpheus Descending, Romeo and Juliet and The Little Foxes. Other Chicago credits include: Born Yesterday (Remy Bumppo, Jeff Award Best Production Midsize) and Six Degrees of Separation (Eclipse). TV credits include: 61st Street (AMC), Chicago P.D. (NBC) and Chicago Med (NBC). Drew has studied at the National Theater Institute, and he holds a BA in Drama from Kenyon College, where he received the Paul Newman Trophy. He is a proud member of SAG-AFTRA.

Adam Schulmerich (Kostya, he/him) is an ensemble member with Shattered Globe. Recent SGT credits; Lobby Hero, Becky, Nurse of Salem and A View from the Bridge. Other recent credits; Superior Donuts (The Artistic Home), Macbeth (Lakeside Shakespeare). Recent television credits include Chicago Med and Mr. Throwback. Adam received his BFA in Theatre Arts & Film from SUNY Purchase College. He is represented by Gray Talent Group.

About Shattered Globe Theatre

Shattered Globe Theatre seeks to redefine what it means to be an ensemble theatre, discover new connections between story, artist and audience, and explore drama from bold, challenging perspectives.

Shattered Globe Theatre was born in a storefront space on Halsted Street in 1991. Since then, SGT has produced more than 80 plays, including ten American and world premieres, and garnered an impressive 53 Jeff Awards and 134 Jeff Award nominations, as well as the acclaim of critics and audiences alike. Guided by Producing Artistic Director Sandy Shinner, Shattered Globe's values are rooted in a commitment to racial equity, respect for all artists and support for the ensemble, while creating new opportunities to amplify traditionally marginalized voices and collaborate in all aspects of its work. Through initiatives such as the Protégé Program, Shattered Globe creates a space which allows emerging artists to grow and share in the ensemble experience.

Shattered Globe Theatre's Ensemble includes Judy Anderson, Louis Contey, David Dastmalchian, Demetra Dee, Joe Forbrich, Ellie Fey, Christina Gorman, Daria Harper, Kotryna Hilko, Tina M. Jach, Rebecca Jordan, Steve Kleinedler, Vivian Knouse, AmBer Montgomery, Tina Muñoz Pandya, Eileen Niccolai, Jazzma Pryor, Deanna Reed-Foster, Linda Reiter, Jeff Rodriguez, Drew Schad, Adam Schulmerich, Leslie Ann Sheppard, Sandy Shinner, Joe Sikora, Shelley Strasser, Devonte E. Washington, Sarah Jo White, Joseph Wiens and Brad Woodard.

SGT's Artistic Associates includes Daniela Colucci, Elliot Esquivel, Mikey Gray, Lawrence Grimm, Ronald Hale, Darren Jones, Christopher Kriz, Jason Lynch, Lydia Moss, Tim Newell, Jane Nix, Aila Peck, Steve Peebles, Cage Sebastian Pierre, David Antonio Reed, Angie Shriner, Abbey Smith, Hershey Suri, Michael Trudeau and Ayanna Wimberley.

SGT is supported in part by generous grants from the Shulman-Rochambeau Charitable Foundation, Brenda and James Grusecki, The Paul M. Angell Family Foundation, Carol P. Eastin, The Shubert Foundation, Judith and David Sensibar, the Illinois Arts Council, The Gaylord and Dorothy Donnelley Foundation and Americans for the Arts.

Visit SGTheatre.org for subscriptions, tickets and information, and follow the company @shatteredglobe on Facebook and Instagram.

Coming of age stories resonate more profoundly when they mirror the lived reality of a real person.  That’s why the firecracker of a play, Hail Mary/Maria, that’s just begun its far too short run at Theater Wit, is must-see theater for just about anybody who counts themselves as a member of the human family.  If you’ve ever been young or wracked with self-doubt, Hail Mary/Maria proves there are avenues that lead to clarity and self-actualization.  Making the play act as a raucous, hugely humorous and often touching guide on how to find them.

Very much a reflection of playwright RJ Silva’s own experiences, the story follows the life of Kid (Juan Sedonio), a teenager who immigrated to the US with his mother from the Philippines when he was in the seventh grade.  Now in an all-boys high school, he’s a little bit of a loner and completely hooked on the exploits of his favorite pro-wrestler, Maria.  He’s also, with great misgivings, about to embark on his first journey into romance.

A badass brawler with heart, it’s Maria we first meet when the play opens. She pumps up the crowd with her bravado, high voltage smile and saucy hair flips.  A stark contrast with the subdued and self-enclosed Kid, Maria’s the bolt of energy that serves to ignite a story that’s about to match her spirit.

The core of the play starts innocently enough in school with Kid, which is short for Kindness, sitting alone listening to music through his earbuds.   He’s joined by another student who casually strikes up a conversation.  Confident and friendly, the boy is feeling Kid out, trying to learn more about him.  He trips over the typical stumbling blocks when it comes to pronouncing foreign names and learning new things about a different culture.  But there’s no animus. He’s open and curious. They both tap into their recall and remember being aware of each other from previous school encounters.  Blond and self-assured, the new arrival’s name is Jack and it’s clear he wants to be friends.  Since Jack (Aidan Leake) is really into the new Avatar movie, we can tell it’s the original he’s talking about and that the play’s setting is fifteen years or so in the past. 

We can see too from their exchange that Kid, although on the surface quiet and retiring, has some spunk to him.  Once he begins talking about why he’s such a fan of the wrestling phenom, Maria, played with zestful impeccability by Carina Lastimosa, we get a glimpse of his animated side.  To Kid, she’s an underdog who became the top dog. An inspiration.  There’s a lot of pride that comes pouring through in his admiration for her.

We meet Kid’s other role model at home.  It’s his Mom, Marie (Marie Tredway).  The quintessential Filipina nurse; tireless, indispensable, magnanimous, Marie’s got an iron core that’s fortified and sustained by her faith and belief in Mama Mary.  A figure most of us know as the Blessed Virgin Mary.  In Kid’s household, she has a shrine set up in her honor and consulted by Kid as well as his Mom for guidance and advise.  Filling two roles, Lastimosa shows how easily she can portray widely divergent personalities.  As Mama Mary, she beautifully personifies a potent blend of compassion and enlightened understanding when responding to Kid’s solicitations.

Scenes that take you inside Kid’s home are some of the most moving and treasured in the production.  Thanks in no small part to Katelyn Montgomery’s wonderfully evocative set.  They’re portals into a world rich in tradition, strongly held belief and the type of family values that insure cohesion.  Attributes that on one hand are wonderfully sublime and on the other almost quaint. The types of characteristics that may have once flourished in the American culture as well; but have long since dissipated or atrophied.    

Very much a collaborative effort, Hail Mary/Maria is directed by Mr. Silva’s husband, Adam Reed.  The unconventionality of the central character is complemented by an equally unorthodox directorial approach in Mr. Reed’s debut directing effort.  One that fills the one-act performance with heaps of emotional and physical dynamism while encouraging plenty of audience interaction.

Pro wrestling of various shades have long been extremely popular in the Philippines.  From the responses of the audience Saturday night, it has a strong following in this country too.  Rather than conjuring it only through the imagination, Hail Mary/Maria brings it live and center stage, giving the uninitiated a taste of its electric appeal.   The ploy works beautifully, making Hail Mary/Maria as much a rewarding visceral charge as it is a splendid theatrical offering. 

From that initial conversation between Kid and Jack, you somehow know Jack had more than friendship on his mind when he sat down next to Kid that day.  And he likely sensed that Kid was interested in him, too.  As we all know, a lot can be transmitted in a simple glance.  

Kid and Jack inch their way toward understanding one another and liking each other even more as their familiarity grows.  Something that triggers trepidation and even fear in Kid.  How can he reconcile who he is with what he thinks should be? How that dilemma is resolved is what makes this project so appealing.  There’s a wholesomeness to it that feels very honest.  The solid gold cast help make Hail Mary/Maria a treasure.  Both Sedonio and Leake fill their roles with the kind of intangibles that make what they present on stage memorable.  A statement that’s just as true for Lastimosa and Tredway.  You can’t help but want to see them all in other works that showcase their skill and gifts as well as this project one does.

The only pressing question now might be, what’s the fledgling entertainment enterprise going to roll off their runway next?

Hail Mary/Maria

Presented by Nova Entertainment

Thursday, August 20^th  - 7:30pm

Friday, August 21^st – 7:30pm

Saturday, August 22^nd  -  2:30pm & 7:30pm

Sunday, August 23^rd  -  2:30pm

Venue:  Theater Wit in Theater 2

1229 W. Belmont Avenue

Chicago, IL  60657

For more information and tickets:  https://www.theaterwit.org/tickets/productions/602/performances

Highly Recommended

Remy Bumppo Theatre Company’s 30th Anniversary Season continues with "Exploring The In Between: A Conversation About Mid-Sized Theatres in Chicago," Monday, Oct. 26 at 7 p.m. in Theater One at Theater Wit, 1229 W. Belmont Ave. This one-night-only event, moderated by Chicago theatre Historian and Author Mark Larson and Associate Director of the Jane Addams Hull-House Museum Matt Randle-Bent bring together Chicago theatre voices from four storied companies: Remy Bumppo Theatre Company, A Red Orchid Theatre, Teatro Vista Productions and About Face Theatre to discuss how midsized theatres have shaped our city’s cultural ecosystem and what role might they play in what is to come. Tickets are on sale now for $35 at TheaterWit.org or by calling the Theater Wit Box Office at 773.975.8150.  

“Exploring The In Between: A Conversation About Mid-Sized Theatres in Chicago” is a night of discovery, conversation and envisioning. “Exploring the In Between” excavates the history, heart and value of midsized theatres in Chicago featuring Remy Bumppo Theatre Company’s Artistic Director Marti Lyons, A Red Orchid Theatre Founding Artistic Director and Board Member of The Red Orchid Theatre Guy Van Swearingen, An Artistic Collective member of Teatro Vista Productions and a Core Ensemble Member of Remy Bumppo Theatre Company Charin Alvarez and About Face Theatre’s Director of Education and Artistic Programing Dionne Addai. 

Ticket sales benefit Remy Bumppo Theatre Company. 

ABOUT REMY BUMPPO THEATRE COMPANY

Remy Bumppo Theatre Company expands and enriches their community’s view of the world, and their own, by producing both the great plays of the past and the important plays of today. As an ensemble-driven theater company, Remy Bumppo authors a more humane culture that listens to, and seeks to understand, the voices, the ideas and the stories of one another. 

Since its inception in 1996, Remy Bumppo has produced a blend of modern classics and complex contemporary works, presented in an intimate setting with clarity, wit and passion. We invite audiences to engage directly with the art through conversation with the artists.

Remy Bumppo Theatre Company is pleased to announce the cast, creative and production teams for the first production in its 2026 - 2027 season, Mud Row, written by Dominique Morisseau and directed by Malkia Stampley, October 15 - November 15, in Theater One at Theater Wit, 1229 W. Belmont Ave. Previews are Thursday, Oct. 15 through Saturday, Oct. 17 at 7:30 p.m. and Sunday, Oct. 18 at 2:30 p.m. Regular performances are Thursdays and Fridays at 7:30 p.m., Saturdays at 2:30 and 7:30 p.m. and Sundays at 2:30 p.m. Subscriptions for the 2026 - 2027 season and single tickets are on sale now at RemyBumppo.org. Groups of 10 or more may call the Theater Wit Box Office at 773.975.8150 to receive group discounts and make reservations. 

Set in the historically Black neighborhood of Mud Row in West Chester, Pennsylvania, two generations of sisters protect and defy the legacy of their foremothers in this surprisingly funny, thrilling and ultimately hopeful play from Tony Nominee and MacArthur “Genius” Grant Recipient Dominique Morisseau. Mud Row deftly shifts between past and present exploring themes of identity, belonging and the complexities of heritage through the lives of several Black women and men, each with their own struggles and aspirations. 

“Mud Row invites such a timely conversation about home, identity, family obligations and the reminder that the choices we make and the narratives we hold onto can last for generations,” said Director Malkia Stampley. “There’s always something to pass on to the next generation, including the choice to heal. I am thrilled to make my Remy Bumppo Theatre Company debut and to work with some of Chicago’s finest artists. I am grateful to the Remy Bumppo family for trusting me with Dominique Morisseau’s beautiful work.”

The cast of Mud Row includes Ayanna Bria Bakari* (she/her, Regine); Toccara Castleman (she/her, Frances); Alexis Janae (she/her, Elsie); Tiffany Renee Johnson+* (she/her, Toshi); Jabari Khaliq (he/him, Tyriek); Jamaque Thomas (he/him, Davin); Maureen Azzun (she/her, Toshi U/S); Quenna Barrett (she/her, Regine U/S); Emefa Dzodzomenyo (she/her, Elsie U/S); Reginald Hemphill (he/him, Davin U/S) and Solomon Langley (he/him, Tyriek U/S).

The creative and production team for Mud Row includes Malkia Stampley (she/her, director); Lo Williams (she/her, associate director); Jean E. Compton* (she/her, stage manager); Matthew R. Chase (he/him, production manager); Jyreika Guest (she/her, violence & intimacy designer); Abhi Shrestha (they/them, dramaturg); Shadana Patterson (she/her, voice & text coach); Sydney Lynne (she/her, scenic designer); Amanda Herrmann (they/them, properties designer); Levi Wilkins (he/him, lighting designer); Christopher Kriz (he/him, composer & sound designer); Evelyn Danner (she/her, costume designer); Aubrey Pierce (she/her, scenic supervisor); Nicholas Chamernik (he/him, lighting supervisor); Gabriela Carrillo (she/her, wardrobe supervisor); Adelina Feldman-Schultz, Tertulia Creative Solutions (she/her, casting director); Marti Lyons (she/her, artistic director); Margaret McCloskey (she/her, executive director); Christina Casano (she/her, creative producer); Missy Preston (they/the, development manager) and John Craig (they/he, operation manager).

~ denotes member of Stage Directors and Choreographers Society

+ denotes Core Ensemble Member

^ denotes Associate Artist 

* denotes member of Actors Equity Association 

Cast and creative team members are subject to change. 

ABOUT DOMINIQUE MORISSEAU, playwright, Mud Row

​​Dominique Morisseau is the author of The Detroit Project (A 3-Play Cycle): Skeleton Crew (Atlantic Theater Company/Broadway, Tony Award nomination for Best Play), Paradise Blue (Signature Theatre) and Detroit ’67 (Public Theater, Classical Theatre of Harlem and NBT). Additional plays include: Bad Kreyòl (Signature Theatre and Manhattan Theatre Club), Confederates (Signature Theatre), Pipeline (Lincoln Center Theatre), Sunset Baby (LAByrinth Theatre), Blood at the Root (National Black Theatre) and Follow Me To Nellie’s (Premiere Stages). She is the Tony Award-nominated bookwriter on the Broadway musical Ain’t Too Proud – The Life and Times of the Temptations (Imperial Theatre) and is currently working on her latest, Hippest Trip – The Soul Train Musical (ACT). TV/Film: co-producer on “Shameless” (Showtime), the film adaptation of the documentary “STEP” (Fox Searchlight) and consultant on the Netflix animated feature, “Tunga.” Awards include: PoNY Fellowship, TEER Trailblazer Award, Steinberg Playwright Award, Audelco Awards, NBTF August Wilson Playwriting Award, Wyndham Campbell Prize, Edward M. Kennedy Prize for Drama, OBIE Award (two), Ford Foundation Art of Change Fellowship, one of Variety’s Women of Impact for 2018 and a MacArthur Genius Grant Fellow. In 2022, Dominique was awarded the key to the city by the Mayor of Detroit.

ABOUT MALKIA STAMPLEY, director, Mud Row

Malkia Stampley makes her Remy Bumppo Theatre Company debut directing Mud Row. Currently, she leads producing at Goodman Theatre as the BOLD Artistic Producer since 2021. Stampley is also a facilitator with Court Theatre’s Civic Actors Studio and teaching artist. She co-founded Bronzeville Arts Ensemble in 2013 and the Milwaukee Black Theater Festival in 2020. She is a Black Excellence Award Recipient for Directing (Primary Trust at the Goodman), twice Jeff nominated and a BOLD Artist with the BOLD Women’s Leadership Circle. Theater directing credits include Goodman Theatre, Rivendell, Kansas City Rep, Northern Sky Theater, TimeLine, Shattered Globe, Raven Theatre, Black Arts MKE, First Stage, Skylight Music Theater, American Players Theater, Milwaukee Rep, Chicago Shakes, Milwaukee Black Theater Festival, Farmers Alley Theatre and Milwaukee Fringe Festival. She is a member of SDC and a LORT Mentorship Committee member.

ABOUT REMY BUMPPO THEATRE COMPANY

Remy Bumppo Theatre Company expands and enriches their community’s view of the world, and their own, by producing both the great plays of the past and the important plays of today. As an ensemble-driven theater company, Remy Bumppo authors a more humane culture that listens to, and seeks to understand, the voices, the ideas and the stories of one another. 

Since its inception in 1996, Remy Bumppo has produced a blend of modern classics and complex contemporary works, presented in an intimate setting with clarity, wit and passion. We invite audiences to engage directly with the art through conversation with the artists.

PRODUCTION DETAILS:

Mud Row

October 15 - November 15 

Written by: Dominique Morisseau 

Directed by: Malkia Stampley 

Website link: RemyBumppo.org

Location: Theater One, Theater Wit, 1229 W. Belmont Ave., Chicago, IL 60657

Previews: Thursday, Oct. 15 - Saturday, Oct. 17 at 7:30 p.m. and Sunday, Oct. 18 at 2:30 p.m.

Estimated Total Run Time: 90 minutes with no intermission

Regular Run: Thursdays and Fridays at 7:30 p.m., Saturdays at 2:30 and 7:30 p.m. and Sundays at 2:30 p.m.

BLACKOUT Night: Thursday, Oct. 29 at 7:30 p.m. 

Remy Bumppo hosts a performance specifically dedicated to serving Black-identifying theatergoers and the Black community at large. Patrons may use the code BLACKOUT for $30 tickets when purchasing online, by phone or in person.

Open Caption Performance: Saturday, Oct. 31 at 2:30 p.m. 

At the Open-Captioned performance, a TV monitor will present dialogue and sounds in text that is in sync with the performance. 

Patrons may use the code RBTCACCESS for $5 off tickets when purchasing online, by phone or in person.

Remy Bumppo’s Between the Lines: Sunday, Nov.1 at 2:30 p.m. 

Remy Bumppo’s Between the Lines performances include a pre-show lecture led by a Chicago luminary who will discuss the themes of the play, the performance, and a post show talkback with the artists.

ACCESS PERFORMANCES:

Audio Description/Touch Tour Performance: Thursday, Nov. 5 at 2:30 p.m., Touch Tour at 1 p.m. 

Listeners will hear a description of actions, body language, lights, costumes, scenery and other aspects of the production not conveyed by voices and sounds from the stage.This service allows blind and visually- impaired patrons to hear a description of the visual elements taking place on stage. 

Touch Tours are 45-minute artistic conversations and tactile explorations of costumes, props and set pieces for patrons who are blind or low-vision

Patrons may use the code RBTCACCESS for $5 off tickets when purchasing online, by phone or in person.

Previews: $34.00 - $38.00

Regular Run: $38.00 - $58.00

Industry Tickets: $20.00, available for Thursday and Friday performances using

code INDUSTRY

Student Tickets: $15.00, available for all performances using code STU15

Group Discounts: For groups of 10 or more, call the Theater Wit Box Office at

773-975-8150.

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.

“Southern Rapture” quickly elicits loud guffaws from the audience, a heartening circumstancve, as it means playwright Eric Coble’s script is doing its job. Billed as a satire, it recounts the tumultuous week in real life leading up to the 1996 opening night of Tony Kushner's celebrated AIDS play, “Angels in America” in Charlotte, NC. But what might have been a tragic recount of small-minded efforts at artistic repression gets turned on its head, a potential tragedy mined for comedy, with an ending that is at once affirming and exhilarating.  

This show at Theater Wit, produced by three-year-old Tin Drum Theatre Company, is loaded with broad humor, and is something of a backstage comedy as well. For purposes of the script, Charlotte becomes a generic southern city, and Kushner becomes Anton Finewitz, and his vaunted work is transformed into “Rapture in America.” 

The show parodies not just the reactionary forces that sought unsuccessfully to keep “Angels in America” from the stage of a rising southern metropolis. It also takes aim at the theater company, its governing board, local government, and the national media that spun the controversy into the unnuanced, dualistic divisiveness that seems to have solidified as a way of American life today. 

Andrew Bosworth as Reverend Dupree and Jenny Hoppes as Laverne Jackson protest the opening of "Rapture in America."

As “Rapture in America” barrels toward dress rehearsal, a big supratitle flashes the daily countdown to its local premiere. In an opening monolog to the audience, Marjorie Hooper proudly tells us, “The play’s won the Pulitzer, Tony, Drama Desk Award, an Evening Standard Award, the Rainbow Excellence Award and an ASPCA citation (that last one is a laugh line)—We’re one of only six theaters in the nation to get the rights to do the show outside of New York!” Indeed! 

When word gets around there will be full frontal male nudity in the show, the gears of progress run unevenly, and almost grind to a halt. Company director Marjorie Winthrop (Shannon Leigh Webber) attempts to insulate her performers from the backlash, which comes in the form of Reverend Dupree (Andrew Bosworth) and a town gadfly Lavern Jackson (Jenny Hoppes). Jackson has read the script and counted the number of mentions of “cocksucker” and other notable perversions to the Charlotte Town Council. (In a content warning to the audience, Jackson’s list includes “one penis,” which indeed appears in the second act at Theatre Wit.)

Theater critic Simon Larisher (Jordon Gleaves, left) conspires to promote "Rapture in America" with production director Donald Sherman (Michael Stejskal).

Charlotte Mayor Winston Paxton (Teddy Boone), ever even-tempered, tries to stay above the fray. His aspirations for transforming this growing city into a world-class metropolis have netted a symphony orchestra, a national sports franchise, and now, an important regional theater company, about to move into the big leagues. But the mayor is beginning to feel unsettled, praising the season’s opener, "The Odd Couple," and encouraging Marjorie to do something other than “Rapture.”

“There’s still gonna be plenty of art!,” the Mayor argues. “It’s just art we can all appreciate. Because that ‘Odd Couple’ was one of the goddam funniest things I ever saw in my life.” But Marjorie will have none of that, declaring the play "epic." 

It even dares to cut through the slavish devotion accorded "Angels in America" and Kushner himself, asking a if this two-part six-hour "epic" work might be too much in a town that likes to get home in time to catch Jay Leno.  

"'“Epic' meaning?" asks the mayor. "Three hours, two intermissions," Marjorie tells him. "And that’s just Part I. Part II is three hours too."
"Good lord, is this a play or a telethon?" asks the mayor, and the playwright punctures the unquestioned aura that seems to envelop Kushner and his fans. 

 Amid the brewing ontroversey, Marjorie conjures up a “bubble” for the players, a send up of that too precious psychobabble affectation that performers may have seen once or twice:

Marjorie: We’re in the bubble, say it with me.

Players: We’re in the bubble.

Marjorie: And what do we do in the bubble?

Players: We make art in the bubble.

Even theater reviewers get skewered in the no-holds-barred script: 

“When I have something to say,” says beleaguered Mayor Paxton, “I’ll talk to a real reporter.”

“I am a journalist,” Simon Larisher (Jordon Gleaves) retorts, to which the mayor replies, no, “You’re a theater critic!” Ouch! Larisher helps raise the profile of the imminent production in concert with the publicity-hungry production director Donald Sherman (Michael Stejskal).  

The playwright specifies just seven actors should play the 16 roles, and director Jason Palmer and the high-caliber cast carry this off wonderfully. Casting credits go to Teddy Boone. Particularly notable is Andrew Bosworth as the protesting preacher Reverend Dupree, and two of his nemeses: the playwright who has flown from New York into the fray, and company member Mickey Steadman, who will deliver the full monty. Bosworth plays the roles distinctively and we have no confusion.

Even more so for Mary Ann Bowman as the theater company board chair, the district attorney, and the over-the-top Nyla-Jean Geisy, a winged creature essential to the play within this play. Likewise for Gleaves, who carries off very well with the support of a good script four roles, including the TV host of “Night Line” and Franklin McManus, a highly effective lawyer given to flowery South Carolina colloquialisms.

Beyond its funny rendition of what it must have been like in Charlotte in 1996, “Southern Rapture” does something more. For me, it’s a reminder that we can recover from our seemingly intractable current state of social affairs. After all, we’ve done it numerous times in the last three decades, and even following the darkest of times in the 1950s with McCarthyism and the blacklisting of creatives. 

Back in the real Charlotte, “Angels in America” opened to record ticket sales, and the protests withered in the face of ticket-buyer preferences. Though the theater company that produced it saw its funding cut in retribution, a successor there commissioned this very funny “Rapture in America,” which feels cathartic all in all.

Now “Angels in America” is the stuff of celebrated revivals, and no one blinks an eye. So we do make it through these times of darkness, the forces of Steven Miller, Trad Wives and Andrew Tate notwithstanding. And we will recover from our current predicament too. 

Even with some clunkers among its running gags and jokes, “Southern Rapture” is highly recommended. It runs at Theater Wit through June 28, 2026.

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

Shattered Globe’s world premiere of the delightful comedy “Eelpout!” delivers its punches with deceivingly understated skillfulness. Written by Paul W. Kruse, who calls it a fantasia, it is beautifully conceived and directed for the stage at Theater Wit by Jeremy Ohringer, whose “A Devil Comes To Town” at Trap Door has made me a big fan of his stage work.

“Eelpout!” examines the less frequently visited territory of the emotional relationship between two men in this tale of a stag party set in an ice fishing hut in Minnesota. We meet Ole Olsen (Carl Hallberg is terrific)—soon to marry Lena (Lydia Moss’s brief appearance is a knockout)—as he and his best buddy Sven Svensen (Jeff Rodriguez in a nuanced performance) trek across the frozen water in the pre-dawn darkness aiming to fish and drink.

Gradually we gather that Ole is more vested in the manly pursuits like ice fishing, while Sven is a more sensitive reflective soul. Their overlap, the safe area in which male intimacy is expressed, is in spectator sports, and chugging booze. Ritualistic beer and shots action is called upon whenever the conversation veers toward honest male intimacy. Likewise for a terse memetic conversation, almost totemic in its value and repeated throughout the play by multiple characters, runs like this:

You catch that game yesterday?
Nail biter.
Sure was.
Down to the buzzer.

These devices substitute for emotional connection, or defer it, for the men.

As the play opens on icy Lake Mille Lac (a real place), Sven pauses to take in the magnificent starry night and beckons Ole to join him and drink in the beauty. The language they have to express their feelings is terse, constrained by male convention, and even more so by their monosyllabic vernacular, which the playwright wields with amazing versatility. (There is a plethora of unusual nouns that I had to Google, only to find that they are real words, at least in Minnesota.)

SVEN: Ole. Just look!
OLE: Oh
SVEN: Worth it.
OLE: How about that.
SVEN: Prettiest right before the sun comes up.
Ole: Yessir

Sven tells Ole, “You ever think about how looking at the milky way is looking sideways through a pancake of stars?” Perhaps touched by the moment, Ole is moved to share a confidence with Sven: that he and Lena will name their first born after him. Now Ole is disappointed that Sven is less than enthusiastic. "You're supposed to be happy,” complains Ole. Sven deflects. “I wanna fish,” But their true feelings spill out in the course of the play, when Sven predicts to Ole that after he is married to Lena, their friendship will suffer and their offspring will take centerstage.

This conversation comes soon after Sven has an accidental dunk into a frigid spear fishing hole during the starlit walk. There he meets the magical Eelpout (Jesús Barajas is absolutely enchanting), a sentient fish in glistening red sequined body stocking. Eelpout engages Sven, nibbling at him in magical fish-like exploration. Barajas is so good in his role, both fishlike, and an alien personality almost from another dimension. It’s a remarkable performance, so good that even one of his stylish exits earned applause!

I suspect the playwright has given us an altogether new personality type - vaguely, a bit Sheldon Cooper-ish from Big Bang theory, maybe Jake Gyllenhaal in "Buzz Saw," with that dash of a very restrained yet overtly gay sensibility. Eelpout as a type seems a rare but familiar character in real life, but I don’t think I’ve seen it on a stage or film.

A third-wheel character arrives in the shape of Lars (Dina Berkeley) with gender bending affect - just one of the guys, but there’s just something you can’t put your finger on. Lars is a well-intentioned dolt and a schmuck, and also affords the playwright an opportunity to caricature the ungainly social behavior of the male suffering deep-seated insecurity and feelings of inadequacy.

In addition to the fantasia style of this play, conjuring visions of great bodies of swirling, writhing, spawning aggregations of fish, the playwright also incorporates classically funny physical comedy and comedy of errors skits: Ole and Sven in skivvies under a blanket, warding off hypothermia and trying unsuccessfully not to get hard; a mistaken identity in which not one, but two stag party strippers (Taigé Lauren as Heidi and Rebecca Jordan as Holly) appear in the ice hut to shock and humorous surprise. It’s a lot of fun.

Particularly notable are the production values, which use very little to great effect. Kudos to Delena Bradley (costume designer), Sierra Walker (lighting designer), Saskia Bakker (props designer), and particularly Eleanor Kahn (set) for the ice house and platform.

All’s well that ends well in a play like this. “Eelpout!” is a precise evocation of the many styles and languages of the varieties of love that dare not speak their name, or perhaps, may not even have a name. Highly recommended, Shattered Globe’s “Eelpout!” runs through May 30, 2026 at Theater Wit in Chicago.

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

Since its original 2020 Off-Broadway debut was postponed until 2024 by the Covid-19 Pandemic, Itamar Moses’ “The Ally” has likely ripened in its effectiveness. Not because the play has changed, but because the world has.

A 2025 Pulitzer finalist, now in its Midwest premier at Theater Wit, it revolves around the ambivalence of Jewish college writing professor Asaf (Jordan Lane Shappell in a sterling performance) as his Black student Baron (DeVaughn Asante Loman) asks him to sign-on to a manifesto decrying the killing of his cousin by campus police.

Initially sympathetic to this cause, Asaf becomes reluctant to sign on, even though he agrees with its indictment of systemic injustice against people of color. His sticking points? A section ties in charges against Israel for operating an apartheid state vis a vis Gaza, condemning what it describes as policies of genocide against Palestinian people—even more timely topics today given current political discourse and a war in Iran.

Through a fast-paced dialog, the playwright puts on stage detailed explications of points of view that are known to trigger family battles during holiday dinners, or have become verboten altogether in the interests of peaceful coexistence. There seems nowhere safe to listen to opposing positions.

But not so on the stage in “The Ally.” Expertly directed by Jeremy Weschler, who has led a stellar cast to precision delivery with impeccable timing, this production is remarkable simply on the basis of how well rehearsed the performers seem to be in a complicated, granular script.

In publicizing the play, Weschler says, "Before October 7th, I — like a lot of American Jews on the left — held two ideas at once: that Israel was a haven and that the occupation was wrong. Itamar Moses saw, honestly before I did, that those two ideas were becoming impossible to hold simultaneously. But there are always two ways to answer the question ‘What do I believe?': what do I think, and what do I feel? Where we land on that spectrum is a constant negotiation between ourselves and the world around us. What ‘The Ally’ asks — what it really demands — is that we face that negotiation honestly. Can we be good people when our hearts and our heads aren't aligned?”

In the main setting, a library meeting room, impassioned, invested characters put forth their positions. Most have direct experience of that about which they speak. This is both enthralling and compelling, emotionally engaging at the peak moments, as we hear them passionately expounded their positions. Each felt equally compelling, even though they are often diametrically opposed.

Moses is a skillful playwright. He has wrapped the political discourse in a romantic drama, the relationship between Asaf and his wife Gwen (K Chinthana Sotakoun), a faculty member who is of Asian descent. The play opens with a skillful rendering of a couple tentatively probing and challenging each other in a very realistic way.

That scene changes from the living room to campus. Having heard from Baron, and as Asaf tussles with signing the manifesto, the playwright ups the stakes. Palestinian student Farid, (Arman Ghaeini) and his “ally” (a recurring theme) Jewish student Rachel (Mira Kessler), ask Asaf to support the appearance of a noted speaker who questions Israel’s actions in Gaza. Asaf agrees to be their student group sponsor authorizing the speaker.

When Reuven (Evan Ozer) a Jewish PhD student, discovers this, he barges in on Asaf to lay out all the reasons this speaker should not be allowed to address the student body. While Israel may seem brutal at home, he contends, one must think of it in context: Israel is surrounded by middle eastern states that oppose its very existence. Any presentation that might undermine Israel’s welfare should be banned.

Moses’s script is designed to give each of the characters a long moment in the spotlight. For relief he reverts to scenes between Asaf and Gwen. Each of the characters is articulate and brilliant. When Reuven makes his case for Israel, for example, he also recounts accurately the arguments of its opposition as he dispels them.

Most intriguing, and emotionally compelling, is Farid. In his first few appearances he is reticent, retreating, polite. But when the playwright offers him his featured monolog, Farid expresses the suffering of Palestinians, and then, moves to a vehement display of their anger. Arman Ghaeini runs away with this scene, engendering from me empathy and even catharsis. When have I heard this expressed? Never before.

Likewise for Baron, who is generally rather laconic. As the debates on stage progress over the connections between the Israel-Palestinian conflict and racial injustice in the U.S., Baron has his moment for a passionate peroration, and Loman's delivery is powerful.

Throughout, Asaf remains the buffeted everyman, conscious of the warring sympathies within himself, and unable to resolve them. The play has some weaknesses as a drama—an old flame now community activist Nikea (Sharyon Culberson) appears, igniting jealousy in Gwen. But as an expression of the struggle we experience societally, through the vehicle of the conflicted Asaf—that weakness doesn’t hamper the impact and value of “The Ally.”

It is worth noting “The Ally” was written before the Hamas strike against Israel in October 2023. That event killed 1,200 and saw 251 taken hostage. In its subsequent defense, Israel has retaliated and sought to destroy Hamas, killing 73,000 Palestinians and isolating Gaza. Also noteworthy: this Chicago production is only the second staging of the work. Perhaps its incendiary subject makes producers skittish.

But “The Ally” has a heightened immediacy today, and should be seen. Highly recommended, “The Ally” runs through May 2, 2026 at Theater Wit in Chicago.

Extended through May 17th!

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

Kirsten Greenidge’s Morning, Noon & Night, currently receiving its Midwestern premiere at Shattered Globe Theatre, is an ambitious, mind-bending exploration of the “new normal” in post-pandemic America. Greenidge, a playwright unafraid of tonal hybridity, situates her story at the uneasy intersection of middle-class and magical realism. Under AmBer Montgomery’s direction, the production attempts to navigate the landscape of family connection, digital surveillance, and the psychic fragmentation wrought by living life through digital screens.

The play unfolds over the course of a single day in the life of Mia, a work-from-home mother teetering on the edge of burnout. Kristin E. Ellis anchors the production with a performance that captures both the brittle humor and simmering desperation of a woman expected to hold everything together. Her Mia is perpetually toggling—between Zoom meetings and grocery lists, between maternal patience and private panic. Ellis embodies the quiet terror of a generation of women asked to endure the unendurable with a smile.

Opposite her, Emefa Dzodzomenyo gives Dailyn a restless, electric presence. As the hyper-aware Gen Z daughter oscillating between existential dread and a yearning for authentic connection, Dzodzomenyo resists caricature. Her Dailyn is sharp, wounded, and achingly perceptive—someone who has inherited not only climate anxiety and algorithmic pressure but also the emotional residue of her mother’s exhaustion.

The supporting cast deepens the sense of a household under strain. Christina Gorman’s Heather, Mia’s friend and confidant, functions as both comic relief and quiet warning sign—her lingering pandemic anxieties and conspiratorial asides suggest how prolonged fear can harden into identity. Hannah Antman and Soren Jimmie Williams lend a jittery immediacy to Nat and Chloe, capturing the skittish vulnerability of teens shaped by social media’s relentless gaze. That said, both performers read slightly younger than I imagined the characters to be, which subtly shifts the dynamic; their portrayals emphasize innocence and volatility over the more self-aware cynicism often associated with girls of that age.

The production’s most striking presence is Leslie Ann Sheppard as Miss Candice, a “Donna Reed  - Father Knows Best” AI-generated avatar of curated perfection who steps out of the algorithm and into the family’s living room. Sheppard’s performance is chilling in its serenity. With a voice that soothes and a gaze that scans, Miss Candice represents not simply technology but the seductive promise of optimized living—an influencer deity promising order amid chaos. Her presence pushes the play from realism into something more speculative, even dystopian.

Jackie Fox’s set and lighting design effectively ground the story in its post-pandemic malaise. The living room, cluttered yet aspirational, feels very lived-in and slightly unraveling. The use of projections is particularly striking; at times the audience feels as though it is peering through a phone screen. Notifications flicker, curated images intrude, and the boundary between the digital and the tangible dissolves. The design serves as a digital mirror—reflecting how social media refracts reality rather than simply documenting it.

Yet for all its thematic ambition, the production occasionally exposes a disconnect between script and staging. Greenidge clearly has much to say about female rage, consumerism, intergenerational trauma, and the violence of constant connectivity. However, Montgomery’s direction seems to engage these ideas primarily at a surface level, with moments of genuine thematic revelation passing too quickly to fully resonate. The result can feel unintentionally algorithmic—significant insights obscured beneath repetitive beats.

Moreover, despite the performances and the evocative design, the stakes never quite rise to meet the play’s expansive conceptual ambitions. Whether this disconnect stems from the script, or the direction is difficult to determine, but the result is the same: the looming threat of digital colonization and familial fracture hover suggestively rather than landing with decisive impact. The danger feels atmospheric instead of urgent, diffuse rather than devastating.

Morning, Noon & Night offers a portrait of contemporary anxiety, capturing the low-grade dread of a culture caught between the longing for authentic connections and the seductive pull of curated isolation. Like the screens it interrogates, the play pulses and glitches—at times mesmerizing, at times disquieting—but always insistently present, morning, noon & night.

RECOMMENDED

When: through March 28th

Where: Theater Wit, 1229 W Belmont Ave, Chicago, IL 60657

Running Time: 90 minutes no intermission

Tickets:  $20  -  $60

773-770-0333

www.sgtheatre.org/season-35/morning-noon-night

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

At Theater Wit, a Jeff Award–winning solo performance reimagines Charles Dickens with both comic absurdity and aching humanity. The great author, improbably alive more than two centuries after his birth, finds himself trapped in a ritual that has long outlived him: the annual retelling of A Christmas Carol. Since 1853, every December has brought another booking, another stage bathed in candlelight, another weary summoning of Scrooge, Marley, and Tiny Tim from memory.

What begins as a familiar recital becomes something stranger and more profound - a meditation on endurance, tradition, and the peculiar perpetuity of a single story. Dickens wrestles with the paradox of being eternally tethered to the story that won him immortality, even as time has turned him into a monument of his own making. What emerges is a portrait both tender and askew - an unexpectedly poignant glimpse of an artist suspended between legacy and fatigue, reverence and ridicule, comedy and elegy.

Under the deft direction of Jonathan Berry and brought to life by the inventive artistry of Blake Montgomery - who both conceived and performs the piece - we are treated to a holiday experience unlike any other. Charles Dickens Begrudgingly Performs “A Christmas Carol” Again transforms the familiar into the fantastically strange, as the enduring author himself returns to the stage with equal parts reluctance and wit. What might have been a simple seasonal retelling becomes a singular theatrical event: a blend of satire, intimacy, and absurdity that reimagines Dickens not as a distant literary figure, but as a weary performer bound to his own timeless creation.

Montgomery’s embodiment of Charles Dickens is nothing short of spellbinding. With remarkable nuance, he breathes new life into the familiar literary icon, reshaping Dickens into a figure at once startlingly fresh and profoundly compelling. What might have been a mere impersonation becomes instead a vivid act of re‑creation - an imaginative dialogue between past and present. Alone on stage, Montgomery commands the space with unyielding energy and precision, shifting seamlessly between wit, gravitas, and emotional depth. His performance is not simply a portrayal, but a tour de force that redefines what a one‑person show can achieve: intimate yet grand, inventive yet faithful, and utterly captivating from start to finish. With its inventive premise and captivating performance, Charles Dickens Begrudgingly Performs “A Christmas Carol” Again stands out as one of the season’s most unique and rewarding theatrical offerings.

Stepping into the role of Dickens, Montgomery slyly nods to Goodman’s grand-scale A Christmas Carol - though he never names the theatre outright, instead referring to it as “that large production downtown with all the smoke, flying spirits, and special effects.” By invoking this spectacle without directly tethering himself to it, he cleverly sets the stage for contrast. His aim is clear: to remind the audience that imagination, not machinery, is the true engine of storytelling.

What follows is a masterclass in restraint and invention. Against the backdrop of a spare set, Montgomery’s performance brims with detail and nuance. His voice, gestures, and timing conjure entire worlds, allowing the audience to paint the scenes in their own minds. The absence of technical wizardry becomes a strength, sharpening our focus on the craft itself. I found myself swept into vivid mental landscapes - fog curling through London streets, spirits shimmering in the dark - summoned not by stage trickery but by the sheer force of Montgomery’s storytelling.

The result is a kind of theatrical alchemy: a performance that proves simplicity can be just as transporting as spectacle, and that Dickens’s timeless tale thrives as much in the imagination as it does under the glow of stage lights.

Dickens Again (for short) is truly a magical experience.

Arrive early! The festivities begin before the curtain rises, as Dickens himself roams the aisles, playfully engaging with audience members and filling the theater with holiday cheer to set the perfect Christmas mood.

Charles Dickens Begrudgingly Performs “A Christmas Carol” Again has firmly established itself as a beloved Chicago holiday tradition. Since 2011, Blake Montgomery has stepped into the role of Dickens, delighting audiences year after year with a performance that blends humor, heart, and timeless storytelling—warming spirits and cementing the show’s place in the city’s festive season.

This production comes from Clownshow, a boldly imaginative company dedicated to crafting live theatrical events from concept through performance. At the helm is Producing Artistic Director Blake Montgomery, whose vision drives the company’s inventive approach to storytelling.

Charles Dickens Begrudgingly Performs “A Christmas Carol” Again is being performed at Theater With through December 28^th. For tickets and/or more show information, visit https://www.dickensagain.com/.