Displaying items by tag: Chicago events

The rise of artificial intelligence raises many questions about its effect on humanity. What does it mean if we become increasingly reliant on AI to think for us, create for us, and entertain us? What happens if this tool encroaches into our lives in ways it never should? Matthew Libby’s Sisters at Writers Theatre tackles the impact of AI in a fascinating way—what if it’s part of your family? Directed by Jessica Thebus, the play examines the profound, complicated implications of growing up with a synthetic sibling. Brenda Barrie plays Matilda, whose sister is an AI system named Greta, performed off-stage by Chloe Johnston. The story follows their complex relationship, which spans decades.

The weight of the production falls heavily on Barrie, who delivers a remarkable performance. She carries the hard task of playing Matilda across a ninety-year lifespan—from a six-year-old child to a woman in her nineties—without any reliance on makeup or costume changes. Instead, she portrays each stage of life through subtle shifts in posture, physicality, and the changing timbre of her voice. Because she is the only person on stage for the entire evening, the play functions virtually as a one-woman character study, compelling the audience to lean into the smallest movements of her face to track the complex emotions her character conceals. Opposite her, Chloe Johnston plays Greta, masterfully capturing the polite, Siri-esque cadences of an operating system while subtly infusing threads of humanity as the AI evolves.

At its core, the piece wrestles with a wounded family dynamic. Matilda is a deeply lonely character, bearing a chip on her shoulder after feeling neglected by her father following her mother's death. She struggles to comprehend how her father could share his deepest self with a system of circuit boards while remaining emotionally distant from his only daughter. This insecurity fuels Matilda’s initial hesitancy to accept her "sister" and drives a quiet jealousy, as through the years, others seem to value a computer over a living human. When Greta eventually asks for a physical body, Matilda must confront this jealousy directly, knowing that Greta’s lack of a physical form was the one thing that gave Matilda the upper hand.

Where Sisters stumbles slightly is in its thematic focus. The play begins to feel muddled as it attempts to juggle a wide array of high-concept questions: What rights does AI have? Is AI a friend or a foe? Is Matilda being manipulated by a machine? Is it healthy to befriend a computer?

Other works tackling the intersection of AI and humanity have succeeded by maintaining focus. Films like Spike Jonze’s Her (starring Joaquin Phoenix as a lonely man falling for an operating system) or Alex Garland’s Ex Machina maintain clarity by grounding their sci-fi premises in very specific themes that examine intimacy with AI or the ethics of creating a seemingly sentient computer. In contrast, Sisters struggles to decide whether it is a play about sisterhood, grief, memory, the inevitable intrusion of technology, or if it’s a character study using AI as a mirror for human fault. Sisters has interesting moments, but it's hard to feel their gravity when so many ideas are talking at once.

Part of the disconnect in this piece also seemed to be Matilda’s guardedness. She goes through phases of being open and closed with her “sister,” and since this is the only window into her as a character, the audience can’t get close because she’s not letting Greta get close. The hook of the play doesn't come until much later when the underlying truth of Matilda's feelings finally erupts. It’s when the sisters are finally seeing each other for who they are that the piece finds itself and provides intrigue.

Perhaps some technical difficulties also caused a disconnect. The set is simple; a living room with a single chair and a side table. But projections and sound cues build a larger world. Visual cues tell us Matilda’s age as we jump through time, and at some moments, we see videos of Matilda in her younger days through Greta’s eyes. The production also evokes Greta’s progression in a highly effective way. We experience a sort of cosmic spark of life as Greta first comes online, and later, when Greta expands into an infinite system, the stage turns into a breathtaking sky full of stars.

Unfortunately, the evening had several technical difficulties. The projectors seemed to reboot several times during the performance, and the play was halted for approximately ten minutes for a bug to be fixed. Nevertheless, Barrie handled the delay like a total professional, resuming the performance without a moment’s hesitation once the system recovered.

Ultimately, Sisters is an intriguing piece of theater. While the script could benefit from a more refined focus, it remains a thoroughly compelling watch, anchored by an extraordinary lead performance from Brenda Barrie that easily carries the evening.

Sisters plays at Writers Theatre until November 8.

Chicago-based Emmy Award-winning performance collective and film/video production company Manual Cinema premiered two new hand-animated films at the Obama Presidential Center Museum earlier this year. Now, the company is bringing two of its acclaimed live-action productions back to Chicago's historic Studebaker Theater at the Fine Arts Building, where audiences can witness Manual Cinema's handmade magic created before their eyes with performers, musicians, and hundreds of puppets.

Timed to coincide with the Halloween and Christmas holidays, Manual Cinema and the Studebaker Theater co-present Manual Cinema's Frankenstein, an adaptation of Mary Shelley's Gothic horror novel, for four performances only October 30–November 1, 2026; and Manual Cinema's Christmas Carol, a unique take on the Charles Dickens classic, from December 18–27, 2026.

Tickets for Frankenstein and Manual Cinema's Christmas Carol at the Studebaker Theater (410 S. Michigan Avenue, Chicago) go on sale Friday, August 28. Tickets are $35-$75, with student tickets available for $25 with proof of ID. For more information and to purchase tickets, visit fineartsbuilding.com/studebaker.

"Manual Cinema is a truly exceptional team of multidisciplinary artists, as demonstrated by the fact that they were tapped to create two short films for the Obama Presidential Center Museum," says Jacob Harvey, Managing Artistic Director of the Fine Arts Building and Studebaker Theater. "We're thrilled to bring their productions of Frankenstein and Manual Cinema's Christmas Carol back to the Studebaker this year, where audiences can experience the magic of their live-action, handmade filmmaking in person."

"We're so excited to be returning to the Studebaker Theater with Frankenstein and Manual Cinema's Christmas Carol!" adds Drew Dir, Co-Artistic Director of Manual Cinema. "Our adaptation of Mary Shelley's classic gothic novel has been touring the Western Hemisphere for years, and we're thrilled to bring it back home for an encore Halloween engagement. Meanwhile, Manual Cinema's Christmas Carol has become a beloved holiday tradition for our fans—we're thrilled to give Chicago audiences another chance to see it!"

SHOW DETAILS

Frankenstein

Studebaker Theater at the Fine Arts Building

410 S. Michigan Avenue, Chicago

October 30–November 1, 2026

In Manual Cinema's thrilling version of the classic Gothic tale Frankenstein, the Chicago-based performance collective imaginatively combines shadow puppetry, cinematic techniques, and live sound effects and music in a haunting show unlike any other. The production stitches together the fictional story of Frankenstein with the biography of the original novel's author, Mary Shelley, to create an unexpected tale about the beauty and horror of creation.

Frankenstein is adapted from the novel by Mary Shelley, with a concept by Drew Dir. The production is devised by Drew Dir, Sarah Fornace and Julia Miller. Original music and sound design are by Ben Kauffman and Kyle Vegter.

Performance times:

Friday, Oct. 30 at 7:30 p.m. (press opening)

Saturday, Oct. 31 at 7:30 p.m. and 10 p.m.

Sunday, Nov. 1 at 3 p.m.

Manual Cinema's Christmas Carol

Studebaker Theater at the Fine Arts Building

410 S. Michigan Avenue, Chicago

December 18–27, 2026

Featuring hundreds of handmade puppets, immersive sound design and a stunning live score, Manual Cinema's Christmas Carol is a holiday show unlike any other. Avowed holiday skeptic Aunt Trudy has been reluctantly recruited to carry on her late husband Joe's tradition of spreading Christmas cheer, and recreates his annual Christmas Carol puppet show over Zoom while the family celebrates from afar. But as Trudy dives deeper into the story, the puppets take on a life of their own and the family call transforms into a breathtaking, one-of-a-kind cinematic reimagining of Dickens's classic ghost story.

Manual Cinema's Christmas Carol is adapted from the novel by Charles Dickens and devised by Manual Cinema, with additional writing by Nate Marshall. Storyboards and puppet design are by Drew Dir, with original score and sound design by Ben Kauffman and Kyle Vegter, and lighting design by Trey Brazeal.

Performance times:

Friday, Dec. 18 at 7:30 p.m. (press opening)

Saturday, Dec. 19 at 1 p.m. and 5 p.m.

Sunday, Dec. 20 at 2 p.m.

Wednesday, Dec. 23 at 7:30 p.m.

Thursday, Dec. 24 at 2 p.m.

Saturday, Dec. 26 at 1 p.m. and 5 p.m.

Sunday, Dec. 27 at 2 p.m.

About the Fine Arts Building and Studebaker Theater

The Fine Arts Building, which celebrated its 125th anniversary in 2023, is a home for art in all forms: from pioneers like Poetry magazine's founding publisher Harriet Monroe, architect Frank Lloyd Wright, illustrator W. W. Denslow, sculptor Lorado Taft and the Chicago Little Theatre, to the ongoing legacies of painters, musicians, booksellers, puppeteers, dancers, photographers and craftspeople who inhabit the building today, the Fine Arts Building is buzzing with more than a century of Chicago creativity and innovation.

A Chicago Landmark since 1978, the building features original Art Nouveau murals from the late 19th century and the Studebaker Theater, one of the city's oldest and most significant live theatrical venues. Following a major multi-million-dollar renovation of the Studebaker led by Berger Realty Group and completed in 2022, the theater has been home to NPR's popular news quiz show "Wait Wait... Don't Tell Me!" and has hosted performances from new musicals including 44: The Obama Musical, Roald Dahl's The Enormous Crocodile, and Jim Henson's Emmet Otter's Jug-Band Christmas, along with productions Ava: The Secret Conversations starring Elizabeth McGovern and Manual Cinema's Christmas Carol. For more information, visit fineartsbuilding.com.

About Manual Cinema

Manual Cinema is an Emmy Award-winning performance collective, design studio, and film/video production company founded in 2010 by Drew Dir, Sarah Fornace, Ben Kauffman, Julia Miller and Kyle Vegter. Manual Cinema combines handmade shadow puppetry, cinematic techniques, and innovative sound and music to create immersive stories for stage and screen. Using vintage overhead projectors, multiple screens, puppets, actors, live feed cameras, multi-channel sound design, and live music, Manual Cinema transforms the experience of attending the cinema and imbues it with liveness, ingenuity, and theatricality.

The company was awarded an Emmy in 2017 for "The Forger," a video created for The New York Times, and named Chicago Artists of the Year in 2018 by the Chicago Tribune. Their shadow puppet animations were featured in the 2021 film remake of Candyman, directed by Nia DaCosta and produced by Jordan Peele's Monkeypaw Productions. In collaboration with the Obama Foundation and Batwin + Robin Productions, Manual Cinema created two animated films for the Obama Presidential Center Museum in Chicago, Ten Letters a Day and Power of Place.

Recent productions include Leonardo! A Wonderful Show About A Terrible Monster, based on books by Mo Willems, an adaptation of Charles Dickens' A Christmas Carol, and a revamped production of The Magic City, based on Edith Nesbit's 1910 novel. In 2023, Manual Cinema completed production on their first self-produced short film, Future Feeling, and toured with folk rock band Iron & Wine the following year. In Summer 2025, Manual Cinema premiered their latest feature production, The 4th Witch—a bold and imaginative inversion of Macbeth that is now touring.

If you need an energy boost, skip the can of Monster and get yourself, plus loved ones of any age, to Playmakers Lab’s tasty birthday cake of a show. The very first edition of That’s Weird, Grandma, culled from Chicago elementary school students’ stories, occurred in the spring of 2001. The revue has somehow survived 9/11, Covid, funding cuts and all other slams against children’s wildest dreams and highest hopes.

No wonder director Brandon Cloyd and the cast can’t hide their excitement. Presented for the last 25 years at the Neo-Futurist Theater, That’s Weird, Grandma provides an hour of escape from adult common sense. It is rough hewn stuff, as scrappy in production and performance values as the gritty venue itself. But it’s a fine place to giggle at the audition of a giraffe who desperately wants to join the circus or a song about a burping bunny.

Cloyd’s intensity as he welcomes the audience reflects the entire project. What goes on in kids’ heads – and later on paper – matters enough to these dedicated grownups to say it out loud and in full volume. Young imaginations may lack both polish and boundaries, but the tales they generate don’t necessarily need a formal beginning, middle or end; or a neat divide between fact or fiction.

For example, “My Sister Fell” gets no farther than a little girl falling on some garbage and crying. “Rose Saves Tony” refers to Lake Michigan as an “ocean” which, given its vastness, makes perfect sense. With sheer glee, the ensemble performs the scene that gave birth to Playmaker Lab’s show title a quarter century ago – a grandma’s “weird” explanation of why her teeth are gleaming white.

Notable among the more complete sketches, “Egg Adventures” has the last remaining egg in a container urgently asking its commander via walkie-talkie to send reinforcements. Out come hens who lay more eggs, even as the commander warns, “Some of you will not be coming back.”

Ensemble members, who serve as teaching artists for the creative writing residencies, celebrate their double duty as educators and performers throughout the show. In addition to the current cast, actors from prior productions lend cameo performances – a nod to the past and a hope that Playmakers Lab can keep its weirdness going for years to come.

Runtime: 1 hour

Remaining show dates: Saturday Aug. 29, Sunday, Aug. 30, Saturday, Sept. 5 and Sunday, Sept 6; all performances at 2 pm

Playmakers Laboratory at Neo-Futurist Theater: 5153 N. Ashland Ave, Chicago

Tickets: www.playmakerslab.org.

Joining the previously announced stars of Kowalski Johnny Galecki ("The Big Bang Theory," "The Little Dog Laughed") as Tennessee Williams and Jacob Moskovitz ("Elle") as Marlon Brando are Alison Cimmet as Margo Jones, Reece Dos Santos as Pancho and Ellie Ricker as Jo. The celebrated new play by Gregg Ostrin, directed by Colin Hanlon, will come to Chicago's Lookingglass Theatre Company at the historic Water Tower Water Works, 163 E Pearson St. at Michigan Ave., playing September 15–October 25, 2026. 

The creative team includes David Gallo (scenic designer), Lisa Zinni (costume designer), Jeff Croiter (lighting designer), Bill Toles (sound designer), Amanda Herrmann (props supervisor), Chels Morgan (intimacy director), Viveca Gardiner (associate scenic designer), Grace Wylie (assistant to the costume designer), Riva Fairhall (associate lighting designer), Sun Hee Kil (associate sound designer), J.P. Elins (production stage manager), and Tess Golden (assistant stage manager).

The understudies include Andrew Schoen (Tennessee Williams), Marck Kiselevach (Marlon Brando & Pancho), and Paige Cilluffo (Margo Jones & Jo).

Tickets are available at lookingglasstheatre.org and 312.337.0665. Kowalski is a part of the 26/27 Lookingglass Membership and Subscription Series. Single tickets range from $37 to $97, with a limited number of premium seats also available.

Set over one pivotal evening in 1947 Provincetown, Kowalski imagines the electrifying first meeting between Tennessee Williams and a young Marlon Brando, just as Williams searches for the actor who would forever change the destiny of A Streetcar Named Desire. Blending fact, memory, and theatrical imagination, the play offers a fascinating glimpse into the creative forces behind one of the most influential works in American theater. Kowaslki explores the intersection of ambition, artistry, desire, and the creation of theatrical history.

JOHNNY GALECKI (Tennessee Williams) is an acclaimed actor best known for his starring role as 'Leonard Hofstadeter' on the award-winning CBS comedy "The Big Bang Theory," for which he earned Emmy, Golden Globe and SAG award nominations. He first gained widespread recognition as 'David Healy' on the groundbreaking sitcom "Roseanne" and has appeared in numerous film and television projects throughout his career including Hancock, Vanilla Sky, I Know What You Did Last Summer, Suicide Kings, In Time and National Lampoon's Christmas Vacation. His stage credits include the Tony Award-nominated Broadway play The Little Dog Laughed for which he received a Theater World Award for Outstanding Broadway Debut, The Drawer Boy, Pot Mom, The Member of the Wedding and Galileo.

JACOB MOSKOVITZ (Marlon Brando) is a rising talent delivering versatile and engaging performances across film and television. Most recently, he starred in the highly anticipated Legally Blonde prequel series ELLE from Amazon and Hello Sunshine, which has already been renewed for a second season.

Moskovitz recently completed production on the Fernando Meirelles-directed Netflix feature Here Comes the Flood, appearing alongside Robert Pattinson, Denzel Washington, and Daisy Edgar-Jones. Earlier this year, Jacob also starred in Seth Meyers' produced feature Brian, which premiered to strong reviews at SXSW. He can currently be seen in the independent feature The Floaters, which was released July 10, 2026. Additional film credits include the A24 feature Y2K, directed and written by Kyle Mooney and Evan Winter, as well as Isle Child, directed and written by Thomas Percy Kim. On television, Jacob's credits include "Chicago P.D." (NBC), "The Good Fight" (Paramount+), Magnum P.I.  (NBC), and "FBI: International" (CBS).

ALISON CIMMET (Margo Jones) has performed on Broadway in Gary, Amelie, She Loves Me, The Mystery of Edwin Drood, Bonnie & Clyde, Baby, It's You!, and A Tale of Two Cities. Off-Broadway/Regional favorites: Freya in Any Minute Now (HERE Arts Center); Margo Jones in Kowalski (Duke); Nelle in Someone Spectacular (Signature); Lady Capulet in Romeo & Juliet (Westport Country Playhouse); Witch in Into the Woods (Fiasco/The Old Globe); Mrs. Cratchit in A Christmas Carol (McCarter Theatre); Madame Thenardier in Les Miserables (NCT); 3 Kinds of Exile (Atlantic Theatre); Preparedness (Bushwick Starr); My Wonderful Day (Two River Theatre). Film/TV favorites: Best Medicine, The Wrath of Becky, The Big Sick, The Marvelous Mrs. Maisel, Ray Donovan, Blacklist, Younger, Bull, Evil, Dickinson, Law & Order: SVU. Alison is a graduate of Brown University, founder of Bonfire Theatre Group, and member of The Actors Center.

ELLIE RICKER (Jo) began her career as a professional Ballet dancer before earning her BFA in Theatre from Boston University.  TV/Film credits include "Anne of Green Gables," "Blue Bloods," 12 and More Omissions (SAIFF Best Actor Award) and A24's Y2K, directed by Kyle Mooney. She is reprising her role from the recent off-Broadway production of Kowalski.

REECE dos SANTOS (Pancho) New York City-based and making his Chicago debut—stoked to finally be here! Film: The Man I Love (dir. Ira Sachs; 2026 Cannes Film Festival Palme d'Or nominee), Triumph of the Will. TV: The Equalizer (CBS), New Amsterdam (NBC), American Rust (Showtime). Off-Broadway: Romeo & Juliet (The Public's Delacorte Theater), The Irrepressible Magic of the Tropics (INTAR). Regional: All My Sons (Hartford Stage), Pride & Prejudice (Cleveland Play House), Flowers of Hawaii(Chautauqua Theater Company), A Welcome Guest (CATF), Measure for Measure and Sofonisba (Theater at Monmouth). MFA: NYU Graduate Acting, Class of 2023. 

GREGG OSTRIN (Playwright) A native of Los Angeles, his most recent plays include A Very Streaming Christmas and The Spy Who Went Into Rehab (Pacific Resident Theatre, Venice, California), The Soul of Motown (Stage West Theater, Calgary), Truffles (Secret Door Theater, New York City) and Rank & File (Hudson Theater, Los Angeles). His play The Beverly Hills Hotel Peace Talks just had its premiere staged reading at The Coachella Valley Rep in Palm Springs, California for its Origins series. It will be opening there in May 2025. He dedicates this play to his former mentor, the late George Furth.

COLIN HANLON (Director) is an actor, writer, director, and producer living in New York City. He most recently directed Broken Snow (with Tony Danza, Tom Cavanagh and Michael Longfellow). He also directed I Love You Because-a queer retelling in NYC, The 25th Annual Putnam County Spelling Bee and co-directed It's Only a Play at George Street Playhouse. He's the co-producer & star of Submissions Only. He's also an adjunct professor at NYU New Studio, LIU, Stella Adler, and Cap 21. He teaches auditioning and self-tape technique at his private studio. Still a working actor as he's been on "Modern Family," "Difficult People," "The Sinner," "The Good Fight" and currently "Uncoupled" on Showtime. Broadway: Falsettos, Rent, Wicked (First National Tour) and In Transit. Off-Broadway: NYC premiere of Dot by Colman Domingo (Vineyard Theater, dir. Susan Stroman), A.R. Gurney's last play Final Follies dir. David Saint (Cherry Lane) and I Love You Because (original cast).

About Lookingglass Theatre Company

Founded in 1988 by graduates of Northwestern University, Lookingglass Theatre Company is a nationwide leader in the creation and presentation of new, cutting-edge theatrical works and in sharing its ensemble-based theatrical techniques with Chicago-area students and teachers through Education and Community Programs. Guided by an artistic vision centered on the core values of collaboration, transformation and invention, Lookingglass seeks to capture audiences' imaginations leaving them changed, charged and empowered. Recipient of the 2011 Tony Award for Outstanding Regional Theatre, Lookingglass has built a national reputation for artistic excellence and ensemble-based theatrical innovation. Notable world premieres include Mary Zimmerman's Tony Award-winning Metamorphoses and The Odyssey, J. Nicole Brooks' Her Honor Jane Byrne, David Schwimmer's adaptation of Upton Sinclair's The Jungle and Studs Terkel's Race: How Blacks and Whites Think and Feel about the American Obsession, Matthew C. Yee's Lucy and Charlie's Honeymoon and David Catlin's circus tribute to Lewis Carroll, Lookingglass Alice, which was captured by HMS Media and reached 1.6 million PBS viewers. Looking Alice is now available to more than four million students worldwide through Digital Theatre+. Work created by Lookingglass artists has been produced in Australia, Europe and dozens of cities throughout the United States.

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

Finding love has always been a challenge. In Jane Austen’s day, a time governed by strict rules of courtship, couples had to avoid mistakes that could potentially ruin a reputation. One might think that the complexities of dating would have eased over time, yet modern romance remains just as fraught with pitfalls. Exploring these timeless rules of attraction is Oil Lamp Theater’s production of I Love You Because, with music by Joshua Salzman and book and lyrics by Ryan Cunningham. Directed by Scott Shallenbarger, this musical, inspired by Austen’s Pride and Prejudice, examines two mismatched couples and asks a fundamental question: Do we love someone despite their differences, or because of them?

Meet our musical’s core couple. Austin Bennet (Aiden McCoy) is a straight-laced, slightly vanilla greeting card writer who fancies himself a "poet" yet struggles to craft anything with authentic depth. Marcy Fitzwilliams (Hanna Kipp) is a carefree photographer who balks at rules and lives in the moment. Having both recently gotten out of long-term relationships, Austin and Marcy decide to follow their friends’ advice and get back out there. This time, though, they’re not looking for “the one,” just someone.

Their first date couldn’t go worse. Austin is still hung up on his unfaithful ex, and Marcy makes little effort to hide her disinterest. Gradually, however, a friendship develops. When they least expect it, sparks fly, prompting both to reexamine what they were looking for in a mate.

Central to any compelling romance is chemistry. Perhaps it was opening weekend jitters, but the on-stage tension between McCoy and Kipp left something to be desired. While their initial awkwardness felt appropriate as the characters grew more familiar, the spark never really intensified. That missing connection made it difficult to fully invest in the material, because their relationship never felt entirely natural.

Part of the issue may stem from character interpretation. Although the script frames Austin as conventional and Marcy as unconventional, neither performer fully embraced those extremes. For example, Austin is written as a Type‑A personality who brings his own black coffee from home to a local café - a funny character trait meant to establish a tightly wound demeanor - but the joke didn’t quite land. If both actors pushed further into their contrasting traits, the show’s humor, which relies on highlighting their polar opposites, might be more effective.

Conversely, the "opposites attract" dynamic succeeded with the supporting couple. Kristin Brintnall plays Diana, an actuary who relies on her rigid mathematical system for love calculations. Maxwell J. DeTogne plays Jeff Bennet, a boyish man-child whose views on relationships are as jumbled as his vocabulary, leading to malapropisms like "duck in a line" or "barking up the wrong treehouse." What begins as a casual fling eventually forces them into the dreaded "Define the Relationship" conversation.

Brintnall and DeTogne play off each other wonderfully by fully embracing their characters' differences. Her rigid precision complements his easygoing demeanor, creating genuine stage friction and strong comedic timing. Their energetic performances helped elevate a relatively straightforward plot.

Unlike Austen’s rich source material, this musical offered few complications for its core couple. Other modern adaptations of classic texts, like 10 Things I Hate About You, which adapted Shakespeare’s The Taming of the Shrew, successfully updated stories while preserving their complexity. But once Austin and Marcy recognize their feelings, there really aren’t any obstacles in their way.

The strength of I Love You Because comes from its performers. Their vocal ability shined in each song, and when the ensemble came together for group numbers, they blended beautifully. As the cast settles into their roles, the chemistry between the leads should deepen and help the audience connect to the central love plot. In any case, the message of I Love You Because was effectively communicated. True love isn’t loving someone in spite of their quirks, but because of them.

I Love You Because runs through September 13 at Oil Lamp Theatre in Glenview, IL.

Advisory: Oil Lamp Theater advises that the production contains mature content, including explicit language and sexual situations.

https://www.oillamptheater.org/

Pulse Theatre Chicago proudly announces a defining new chapter in the company's history with the expansion of its artistic leadership, the beginning of its residency at the historic eta Creative Arts Foundation, and the cast and creative team for its Fall 2026 production of Dominique Morisseau's acclaimed drama, Detroit '67.

More than a season announcement, this moment represents the culmination of twelve years of artistic growth— from a storefront theatre founded in 2014 to a Black-led company entering a new chapter through expanded artistic leadership, a residency at one of the nation's most historic Black theaters, and its most ambitious season to date.

As the flagship production of its 2026–2027 season, Detroit '67 marks an exciting milestone for Pulse Theatre Chicago. Dominique Morisseau's celebrated drama explores family, resilience, and hope amid the Detroit uprising of 1967—themes that resonate deeply with the company's season-long exploration, The Healing Pulse: Mental Health in Black Homes.

Founded in 2014, Pulse Theatre Chicago enters its twelfth season by expanding its artistic leadership. Executive Artistic Director Aaron Reese Boseman is joined by Associate Artistic Director Isis Elizabeth, who joined the company in 2023. Together they will guide Pulse's artistic vision as the company begins its residency at eta Creative Arts Foundation and continues its commitment to creating bold, community-centered theatre on Chicago's South Side.

"This moment represents years of dreaming, building, and believing," said Executive Artistic Director Aaron Reese Boseman. "Since founding Pulse Theatre Chicago, our mission has been to create theatre that doesn't simply entertain—it transforms. Beginning our residency at eta Creative Arts Foundation and expanding our artistic leadership strengthens our commitment to building an artistic home where artists and audiences alike can gather, heal, and imagine together."

A New Chapter for Pulse Theatre Chicago

Founded in 2014, Pulse Theatre Chicago has grown into a Black-led professional theatre company recognized for producing new works, reimagined classics, and immersive theatrical experiences rooted in poetic grit, bold imagination, and deep compassion.

Boseman's directing work in Chicago storefront theatre includes acclaimed productions of Confederates, The House That Will Not Stand, Topdog/Underdog, The Mountaintop, The Colored Museum, and A Raisin in the Sun, reflecting the company's longstanding commitment to centering Black voices and transformative storytelling.

An actor, playwright, and educator, Isis Elizabeth joined Pulse Theatre Chicago in 2023. Her original play Beneath the Willow Tree received its world premiere at Pulse, exemplifying the company's investment in developing new work alongside celebrated classics. As Associate Artistic Director, Elizabeth will help shape artistic programming while continuing Pulse's commitment to nurturing emerging artists and new voices.

A New Home at eta Creative Arts Foundation

Pulse Theatre Chicago proudly begins its residency at the historic eta Creative Arts Foundation, one of the nation's oldest continuously operating Black theaters.

The residency reflects a shared commitment to expanding professional theatre opportunities, fostering artistic collaboration, and investing in the cultural vitality of Chicago's South Side while honoring eta's enduring artistic legacy.

The partnership builds upon an already successful artistic relationship. Pulse Theatre Chicago's production of Once on This Island, presented at eta Creative Arts Foundation, earned a Jeff Award, laying the groundwork for this exciting new chapter and underscoring the artistic partnership between the two organizations.

The Healing Pulse

The company's 2026–2027 season, The Healing Pulse: Mental Health in Black Homes, explores the emotional landscapes of Black life through stories of grief, healing, caregiving, identity, joy, memory, and restoration.

Earlier this summer, Pulse launched its immersive Ritual & Rhythm Reading Series, featuring City of Water by Isis Elizabeth and Rhyme Deferred by Kamilah Forbes and Chadwick Boseman. The series transformed traditional staged readings into immersive theatrical experiences, inviting audiences into conversations that continue throughout the season.

Through The Healing Pulse, Pulse Theatre Chicago asks audiences not simply to witness these stories, but to consider what healing looks like behind closed doors, who gets to rest, who gets to unravel, and how communities care for one another through joy, grief, and resilience.

Detroit '67

By Dominique Morisseau

Directed by Aaron Reese Boseman

Set during the Detroit uprising of 1967, Detroit '67 follows siblings Chelle and Lank as they struggle to preserve family, hope, and home amid profound social change. Both an intimate family drama and a sweeping historical portrait, the play explores the enduring strength of community in moments of uncertainty.

The cast features Shenise Danyèl as Chelle, Tamarus Harvell as Lank, Emma Jean Eastlund as Caroline, Dairyon Bolden as Sly, and Jimiece Gilbert as Bunny. Completing the company are understudies Marlissa Stalling (Chelle), Destin Patton-Warner (Lank), Jen Agather (Caroline), Michael Ashford (Sly), and Y'vonne-Rose Smith (Bunny). The creative team includes AnJi White, Assistant Director; Ashley Coney, Production Stage Manager; Chels Morgan, Intimacy & Violence Director; Kevin M. Rolfs, Scenic Designer; Levi J. Wilkins, Lighting Designer; Warren Levon, Sound Designer; Terri Devine, Costume Designer; and Rueben Echoles, Hair & Makeup Designer, Enjoli Valentine, Property Design; Sierra Coachman, Dramaturgy.

Previews: September 11, 2026

Closing: November 1, 2026

Performances take place at eta Creative Arts Foundation.

About Pulse Theatre Chicago

Founded in 2014, Pulse Theatre Chicago is a Black-led professional theatre company committed to producing new works, reimagined classics, and immersive theatrical experiences that amplify underrepresented voices. Through bold storytelling and community-centered artistry, Pulse believes theatre can serve as both a catalyst for dialogue and a space for collective healing.

Now a resident theatre company at eta Creative Arts Foundation, Pulse continues its mission to expand access to professional theatre on Chicago's South Side while cultivating artists, developing new work, and strengthening Chicago's vibrant Black theatre ecosystem.

For more information and tickets, visit www.pulsetheatrechicago.org.