Displaying items by tag: Chicago plays

Anton Chekhov, a Russian playwright who was also a doctor, can claim a level of regard few writers achieve and maintain so long after their deaths.  Born in 1860, the same year the Republican Party nominated Abraham Lincoln for President, his plays are routinely produced on stages in America and around the world because of what they reveal about who we are.  That’s especially true for Chekhov’s Uncle Vanya, written in 1899, just a few years before the playwright died. Its popularity may be due to its mystery.  Is it about resilience or is it about failure?  Is it a comedy or a tragedy?  It’s the kind of work that leaves you with questions about not only its two main characters, Sonya and her Uncle Vanya, but also about us. 

A part of the city’s theater community since 2011, Astonrep Productions is a small Chicago company intent on “creating compelling and intimate experiences that challenge audiences”.  Their interpretation of Uncle Vanya that opened over the weekend at The Edge Off Broadway succeeds in doing so with some reservations. 

It’s the first American company to mount this commissioned 2024 Canadian adaptation of Chekhov’s classic.  Liisa Repo-Martell’s revamp of the play dutifully adheres to the structure, plot themes and character composition of the original.  But the play’s softer aspects, the features that define its essence and purpose, are less reliable and sure. 

Displeasure with self is one of first things we get a sense of when the play opens. But even before that awareness sets in, there’s a curiosity the audience notices while they’re selecting their seats before the play begins.  A man is slouched in an upholstered chair with one leg over its arm.  He’s at the back of the stage and asleep.  (We later learn he’s passed out drunk.)  Soon after and closer to us, a man and woman are talking.  They’re in the sprawling home of a rural Russian estate well over 100 years ago.  He’s Mikhail Astrov (Robert Tobin), the local doctor and she’s Marina, a housekeeper very ably played by Liz Cloud, who clearly possesses a warm motherly instinct and a sharp wit.   Astrov’s lamenting his fate as a country doctor.  It’s all tedium.  The people are gossip thirsty “savages”.  His life has no fulfillment.  He’s not married.  He’s not in love with anybody and his youth is behind him.  The demands of his work, a sour outlook and his liberties with vodka are catching up with him by slowly dismantling his good looks.

L-R: Robert Tobin, Natalie Hurdle. Photo by Paul Goyette.

By calling him a moron, the doctor’s antipathy for the sleeping man is made clear even before he wakes up.

As more people enter the story, we find ourselves in the middle of a family crisis.  Vanya, the man who was sleeping in the chair, and his niece Sonya (Natalie Hurdle) have been the caretakers of the estate since her mother died.  Sonya’s father, Alexandre (Geoff Isaac), is a professor in the city who’s been forced out of his university position and has now returned to the homestead.  He’d been relying on income from the estate to support his lifestyle in town.  He’s not returned alone.  Joining him is his much younger and very beautiful second wife, Yelena, with Andi Muriel in the role. Things are tense.  Alexandre’s pompous and obliviously demanding.  And Vanya, played with visceral intensity by Rian Jairell, is demonstrably resentful. 

An appeasing conflict avoider, Sonya’s loyalties are split between the natural draw a child has to her father and her uncle who’s labored with her to keep the estate viable at tremendous personal sacrifice to them both.  Now a young woman, she seems to know it’s Vanya who’s been more the nurturing father presence for her and that other than each other, the estate is all that either of them have.   

Additional strain is added with the presence of Yelena.  Her beauty is like an intoxicant for both Vanya and the dissatisfied doctor, Astrov.  They’re both brazen in their desire for her.  Watching them shamelessly try to seduce her is equal parts comic and piteous.

With so much instability, friction and doubt in the air, you’d expect to feel the charge of that energy engulfing the air.  Directed by Derek Bertelsen, it doesn’t arrive with any real intensity until the second act when Sonya’s father floats the idea of selling the estate. And that’s despite the considerable investments Jairell as Vanya had been contributing up to that point.  Because It’s so transparent Alexandre wants the money from the sale to fund his return to the city and his refined form of living, Vanya’s resentment turns to rage.  Finally filling the production with heat.

It dials up too when Sonya confesses her attraction, indeed love, for Astrov to Yelena.  Unrequited never looked so vulnerable and fragile.  

Part of Repo-Martell’s adaptation included revising the language to be more contemporary and ostensibly more approachable.  It works in an essential way.  Both Jeremiah Barr’s handsome set and Natalie Shoch’s costume designs are ambiguous enough to blur any specific time reference.  But in the back of your mind you know this is all happening in a very distant time and place.  One where duty and tradition held much more sway.  That difference can often be found in the words used to express and explain obligations and choices.  Here there’s a nagging sense that you may be missing important steppingstones.

In the end, things aren’t much different from where we found them in the beginning.  Except everyone is much more depleted.  Drained.  But still tasked with shouldering their disappointments and continuing with their lives.  In Chekhov’s original script, the word “rest” is used to represent that place of willful resignation that amounts to acceptance of one’s inevitable destiny.  In this adaptation, the word “peace” is substituted.  They say the same thing about something we’ve all experienced. When we’ve had to pull ourselves up out of the ashes and push forward.  Uncle Vanya brings that feeling front and center and offers understanding through catharsis.  That alone will keep it in heavy production for a few more centuries at least.

Uncle Vanya

Through July 5, 2026

Astonrep Productions

Venue:  The Edge Off Broadway

1133 W. Catalpa Avenue

Chicago, IL  60640

For more information or tickets:  https://www.astonrep.com

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

Couch Penny Ensemble, in association with Theatre Arcana, presents the ambitious and experimental An Oak Tree, a raw, unconventional approach to theater that is sure to spark conversations on the nature of grief and the experience itself.

In writing An Oak Tree, playwright Tim Crouch wanted to replicate the disorienting nature of grief. The play features two actors - one who has rehearsed the script (the Hypnotist) and another who has neither seen nor read it (the Father). The Hypnotist acts as a dual guide both for the actor playing the Father and the audience, as this one-of-a-kind experience comes to life.

For each performance, a new, different actor takes on the role of the Father, and it’s their job to live in the moment, breathing life into this character through the use of real-time instructions (given via headphones) and script lines given to them on the spot. The result is an unpolished, raw theater experience. The format is intriguing and innovative - a reflection on grief itself. When tragedy happens, you aren’t prepared for it, and you suddenly find yourself wrestling with a script that is unrehearsed.

Under Bryce Lederer’s direction, the production leans into the play’s shifting dynamics, shaping its unpredictability into something sharply focused and theatrically alive.

Riles August Holiday anchors the evening as the Hypnotist, delivering a technically demanding and well-acted performance. Holiday does a fantastic job of drawing a sharp line between his moments in character - playing a defensive, fragile man - and his moments acting as an administrative guide, calmly steering both his co-star and the audience through the mechanics of the script.

On this evening, Suzy Krueckeberg played the Father, and one can only imagine the excitement and the nerves of taking on such a role. As the Father, she was required to relive the trauma of losing a daughter and process the deterioration of her family without rehearsing - no small task. Krueckeberg did a good job finding the part and taking the audience on the journey with her.

For all its ingenuity, An Oak Tree serves a very specific appetite. This is avant-garde, experimental theater through and through. If you are an audience member searching for that specific brand of rule-breaking performance art, there is plenty to analyze here. Personally, I felt the script left something to be desired. In an examination of grief, I felt at times it was too simplistic or trod ground others had covered more effectively.

That said, it was a unique and interesting experience to see an actor walk a tightrope, constructing a character in front of the audience’s eyes. Holiday’s emotional depth on stage was a treat as well.

An Oak Tree runs at Greenhouse Theater Center until July 5^th.

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

Lookingglass Theatre Company continues its tradition of staging visually inventive and thought-provoking world premieres with its latest production, Untitled Vampire Play. Written by Lookingglass Ensemble Member Kevin Douglas - who has previously crafted well-received work for the company, including Thaddeus and Slocum: A Vaudeville Adventure - this comedy-drama uses supernatural lore to dissect the vulnerabilities of modern relationships.

The story centers on a delightfully bizarre “meet the parents” scenario. Dom (Jordan Anthony Arredondo), an everyman bartender, introduces his parents to his new girlfriend, Val (Courtney Rikki Green). The twist? Val is a centuries-old vampire. But don’t worry - she gets her blood from ethical sources, not human victims. Dom’s parents laugh it off, though, thinking their son’s girlfriend has a few screws loose.

Meanwhile, Val’s “brother” Roderick (Walter Briggs) resurfaces, wanting to reconnect. In reality, they are former lovers, but after his betrayal, she ran away. Val doubts that he’s changed, but her progeny, Rose (Jin Park), gets sucked into his orbit despite being under Val’s supernatural control. As Roderick carelessly makes kills in Chicago, bodies begin piling up, drawing the attention of Dom’s mother - a police detective - and a vampire hunter descended from Van Helsing. Who said love was easy? The result is a look at relationships in all of their messy, bloody glory.

Briggs turns in an excellent performance as Roderick, playing the charismatic bad boy with ease. He channels the classic Hollywood vampire aesthetic with immaculate fashion and a distinct, formal vocal cadence that commands the room. Sure, he’s a villain, but he’s fun to watch, especially with the little flairs he adds to his characterization.

Kareem Bandealy is another standout, tackling two completely contrasting roles. He plays Dom's father, Louie, with a relentless barrage of corny vampire dad jokes, then completely transforms into Lance Tardis Van Helsing, a fierce vampire hunter with an equally fierce hair flip.

Courtney Rikki Green as Val inUntitled Vampire Play at Lookingglass Theatre. Photo by Justin Barbin.

Anchoring the whole cast, though, is Green, who brings immense emotional weight to her performance as the complex Val. Serving as the real window into this hidden world, Green charts her character's profound transformation, as Val wrestles with whether she is seeking genuine love or simply trying to outrun eternal loneliness.

Beneath the fangs, the play asks a deeply human question: What does it mean to love someone? It explores the underlying selfishness that often masks itself as romance. Val wants Dom to turn into a vampire so they can be together forever, viewing his reluctance as a rejection of her identity rather than a defense of his own humanity. Meanwhile, Dom uses Val as an emotional security blanket to quiet his own intense insecurities. Through these characters, Douglas examines how control, weakness, danger, and even lust can taint love, or at least the illusion of it.

The script could use a bit of trimming in its exploration, as there are moments that feel repetitive, alongside a few minor plot weaknesses. For instance, it seems odd that a police detective would wait so long to investigate self-proclaimed vampires once gruesome deaths with animal-like attack marks begin happening. Furthermore, one thing I certainly could have gone without was a gruesome scene where the vampires feast on a victim, using gummy worms to simulate intestines. Still, beneath those rough edges, the play’s core story has real spark, offering a fresh, funny twist on vampire mythology that keeps the audience engaged.

I’d be remiss not to praise the play’s design. The technical execution is a masterclass in atmospheric world-building. Scenic designer Alyssa Mohn delivers an expert landscape featuring coffins that seamlessly rise from and sink into the stage floor. This clever staging pairs beautifully with Andre Pluess’s precise sound design and Jason Lynch’s lighting choices - ranging from moody washes to stark spotlights and flashing accents - to wrap the theater in an escalating sense of intrigue and peril. The atmosphere creates moments when you’re not sure if you might be the next victim.

Inventively directed by Devon de Mayo, the production also incorporates fun moments of audience engagement, whether it’s handing theatergoers caution tape to hold at a crime scene or a rather messy vampire kill that sprays stage blood into the front row.

While it doesn’t entirely break new ground, Untitled Vampire Play is creative and visually arresting. At a time when modern relationships are being heavily dissected in media - such as in the hit Obsession - Untitled Vampire Play tosses its fangs into the conversation, leaving the audience to wrestle with what should encompass the core tenets of love.

Recommended.

Untitled Vampire Play is being performed at Lookingglass Theatre through July 12^th.

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

What would you do if you found out your heritage wasn’t what you thought it was? In Tom Stoppard’s case, he wrote a sweeping, epic play about it. Glencoe’s Writers Theatre brings Leopoldstadt to the Chicago area for the first time since its West End and Broadway runs in the early 2020s. Directed by Carey Perloff, a longtime friend and collaborator of Stoppard’s, this final stage play proves to be among his best.

Stoppard passed away late last year but he left a decades-long cannon of seminal stage and screenplays. When his semi-autobiographical play “Leopoldstadt” began performances in the West End in early 2020, he was sure it would be his last. Though he wrote it in a year, it took nearly 30 years to find the narrative. Stoppard, who was raised as a gentile most of his life, was told by a family member in 1993 he was of Jewish heritage and that many of his family members were murdered in the Holocaust. Stoppard escaped Czechoslovakia as a child and was raised in the UK entirely unaware.

A blended Jewish-Catholic family’s history in 20th century Vienna is divided neatly into four pivotal scenes with a sizeable cast of some of Chicago’s best. In the first scene, a Christmas party (1900), we’re shown a Vienna in which Jews were considered equals. Families had interfaith marriages and shared holiday celebrations. By the second scene (1924), WWI has redrawn the maps of Europe. Austria, as well as the family, finds itself in a precarious place. Scene three (1938) portrays an Austria fully committed to the Third Reich and family alliances are put to the test when the family is forced out of their home by the Nazis. The final scene (1955) happens in the aftermath of Austria’s reunification following WWII. This last scene mirrors Stoppard’s own life and serves as an emotional climax to a play that is often dense with political and historical theory.

The cast of Leopoldstadt. Photo by Michael Brosilow.

Writers Theatre’s production is as faithful to the original as you can get. Carey Perloff directed the Boston and D.C. premieres too. Along with an all-star cast of Chicago heavy hitters, Perloff’s production will likely be remembered as the definitive Midwestern revival. Between Ken MacDonald’s set and Alex Jeager’s costumes, audiences are sure to be swept away to a different time and place that can feel eerily reminiscent to the present.

As the eras change so do the actors playing the characters. Stoppard’s script trusts that the storytelling is so engaging that audiences will figure out who’s who by the context clues, and he was right. Some may find the story hard to follow but thankfully a helpful lobby installation catches everyone up on the history of Austria during this time period.

Writers Theatre favorite Kate Fry plays a Catholic woman, Gretl, who marries into a prominent Jewish family. Her performance is at first charming but by the end heartbreaking. Jessie Fischer delivers a transformative performance, particularly during the final scene. Rounding out the male ensemble is Ian Barford as Hermann who plays a converted catholic, but it’s his deterioration that is unforgettable. Justin Albinder is given the meatiest part of the final scene and his ability to switch from one emotion to the next is some of the most natural acting of the evening.

Leopoldstadt is every bit as epic as something like Gone with the Wind. Much like the famed novel and movie, this play tells the story of a civilization, a family, lost to the tragedy of war. It’s a story of a family’s near extinction. Stoppard’s brilliance is on full display and how lucky are we to have this capstone for his illustrious career?

Through August 16 at Writers Theatre. 325 Tudor Ct, Glencoe, IL.  847-242-6000

https://www.writerstheatre.org/events/leopoldstadt

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

Following its recent winter production of Sister Act, Drury Lane Theatre returns to the convent with Nunsense, a light-hearted musical comedy which, as the title implies, is a lot of nonsense.

The premise is funny, albeit morbid. After an unfortunate mishap, 52 members of the Little Sisters of Hoboken die from tainted soup prepared by Sister Julia, Child of God. With limited resources, the surviving nuns can only cover the funeral expenses of some of their sisters - leaving the remaining four bodies in their convent freezer, awaiting burial. How can they solve this problem? Well, stage a variety show, obviously! After all, while these women are nuns, they all wanted a moment in the spotlight.

E. Faye Butler, who also directed Sister Act, returns to stage Nunsense and injects the same optimism into this show. Unfortunately, it lacks the same substance, failing to elevate its premise beyond the initial idea.

The origin of Nunsense seems to explain its structural weakness. In the early 1980s, playwright Dan Goggin created a line of tongue-in-cheek greeting cards featuring a nun offering witty, irreverent quips. The cards were a hit, and Goggin used them as a jumping-off point for a cabaret show, which was later expanded into a full-length musical.

Unfortunately, the script doesn’t have much narrative depth or structural momentum. It seems to wander through quips and gags, trying to find a laugh rather than developing character or plot. At one point, we learn that a health inspector will fine them if they can’t raise the money by tomorrow, but it doesn’t land as a serious threat or even a driving force for the remainder of the show. The problem even has a quick resolution when Sister Mary Amnesia remembers her identity and discovers she’s suddenly rich thanks to a contest - talk about a deus ex machina (mary-ina, if you will).

Rachel Carreras in Drury Lane THeatre's Nunsense. Photos by Caitlin Dennis.

The book’s weaknesses are unfortunate because the cast is genuinely strong. Every member brings spectacular vocals to the stage, effortlessly belting out musical numbers and sounding excellent throughout.

Sharriese Hamilton delivers a standout performance as Sister Hubert. Her sassy comebacks and vocal riffs are hilarious, especially her trill in their rap. Her big second-act number, "Holier Than Thou," takes the audience to church and gives the show a much-needed jolt of energy. Cory Goodrich, Rachel Carreras, Kelly Felthous, and Aurora Boe also do well in their solo moments, whether it’s physical comedy, playing with a puppet, or ballet. Felthous gets to shine with her audience work and banter, and it is fun to see the cast do callbacks to specific interactions, such as flirting with or chiding audience members.

The show succeeds best when it moves quickly. Without much plot, gags can get tired easily. For instance, the Reverend Mother accidentally inhales a drug found in the girls’ locker room and goes to pieces. The sequence goes on a few beats too long. Transitions also could be tightened so the show doesn’t lose steam between numbers.

Nunsense is a fun idea, but the script fails to execute it satisfyingly. It’s also unclear who the intended audience is; the PG‑13 tone might make it a slightly tougher fit for families, even though they’d otherwise be a natural demographic.

While each performer gets a well-deserved moment to shine, it is a shame that such a talented cast doesn't have better material to serve either their collective skills or a meaningful story. Drury Lane's Nunsense has its moments, but it never quite reaches divine heights.

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

A Red Orchid Theatre is thrilled to announce a remount of its critically-acclaimed, father-daughter drama Birds of North America, returning for a limited engagement September 10 – October 4, 2026 at 1531 N. Wells St. in Chicago's Old Town neighborhood. Written by Anna Ouyang Moench and directed by Artistic Director Kirsten Fitzgerald*, the remount will feature the full original cast and creative team. Single tickets go on sale Tuesday, August 4, 2026 at 12 pm at aredorchidtheatre.org or by calling (312) 943-8722. 

Reprising their original roles in Birds of North America are Ensemble Member John Judd* with Cassidy Slaughter-Mason. Understudies include Sahar Dika and Guy Wicke.

About the Production:

John and his daughter Caitlyn are birders. As they scan the skies over their backyard in suburban Maryland looking for elusive birds, years go by. Relationships begin and end. Children grow up and parents age. The climate and the world change in small and vast ways. Birds of North America takes a close look at the relationship of a father and daughter over the course of a decade as they struggle to understand the parts of one another that defy understanding. 

Birds of North America received critical acclaim during its sell-out Chicago premiere:

★★★★

"A gorgeous little 90-minute two-hander, a beautifully acted and directed

father-daughter play capable of transporting you away... I was transported"

"[John] Judd, one of the Chicago theater's most remarkable actors [is] a perfect fit for this role...

a really beautiful performance and one of Judd's best. (I've seen many.)"

–Chris Jones, Chicago Tribune

★★★½

"A gripping generational dialogue... Slaughter-Mason's performance in this production is moving."

–Mike Davis, Chicago Sun-Times/WBEZ Chicago

RECOMMENDED! "A tender portrait that walks the taut line

between pain and sentimentality with the vivid humor of recognition."

–Irene Hsiao, Chicago Reader

The production team includes Morgan Laszlo (Scenic Designer), Ben Argenta Kress (Costume Designer), Seojung Jang (Lighting Designer), Ethan Korvne (Composer & Sound Designer), Spencer Diaz Tootle (Props Designer and Set Dressing), Jojo Brown (Dramaturg), Amy Carpenter (Assistant Director), Kyle Stoffers (Casting Director), Tom Daniel (Technical Director). Alivia Arizaga (Stage Manager) and Faith Locke (Assistant Stage Manager).

Subscribers for A Red Orchid's soon-to-be-announced 2026-2027 Season may add Birds of North America to their package as at a discounted rate. Season subscriptions will be available in July 2026.

*Denotes A Red Orchid Theatre Ensemble Member

PRODUCTION DETAILS:

Title: Birds of North America

Playwright: Anna Ouyang Moench
Director: Artistic Director Kirsten Fitzgerald*
Cast: Ensemble Member John Judd* (John) with Cassidy Slaughter-Mason (Caitlyn)

Understudies: Sahar Dika and Guy Wicke

Location: A Red Orchid Theatre, 1531 N. Wells St., Chicago

Dates: Opening: Thursday September 10, 2026 at 7 pm

Regular run: Friday, September 11 – Sunday, October 4, 2026 Curtain Times: Thursdays and Fridays at 7 pm; Saturdays 3 pm & 7 pm; and Sundays at 3 pm.

Tickets: $61*. Access, student, senior and group discounts available.  Single tickets go on sale Tuesday, August 4, 2026 at 12 pm at aredorchidtheatre.org or by calling (312) 943-8722. *Ticket prices include a processing fee.

About the Artists:

Anna Ouyang Moench (Playwright, she/her) is an award-winning playwright and screenwriter. Her plays include Your Local Theater Presents: A Christmas Carol, by Charles Dickens, Again, Man of God, Birds of North America, Mothers and Sin Eaters. Anna's work has been produced at the La Jolla Playhouse, Williamstown Theatre Festival, the Geffen Playhouse, East West Players, the Playwrights Realm, NAATCO at the Public Theater, A Red Orchid Theater Company, The Gift Theatre, and many others. She is a former Jerome Fellow at the Playwrights' Center, Van Lier fellow at the Lark and Page One fellow at the Playwrights Realm. Awards include two 2023 WGA Awards for her work on Severance (Apple TV+), the 2020 Steinberg Playwright Award, the Gerbode Special Award in the Arts, the Paul Stephen Lim Playwriting Award from the Kennedy Center, and the NYFA Award in Playwriting/Screenwriting. Anna received her MFA in Playwriting from UCSD and now lives

in Los Angeles with her family.

Kirsten Fitzgerald (Director, she/her) is a proud member of the Ensemble at A Red Orchid Theatre and has served as the Artistic Director since 2008. Recent directing credits include the world premiere of Gorgeous by Keiko Green at Raven Theatre, The Moors at A Red Orchid (Jeff Award for Best Production and Best Director of a Play-Midsize) and Dance Nation at Northwestern University's Wirtz Center. As an actor Kirsten has originated roles in the world premieres of The Cave, Grey House, Traitor, Pilgrim's Progress, Weapon of Mass Impact, and more (A Red Orchid); Swing State, I hate It Here (Goodman); Lettie, Appropriate (Victory Gardens); Mary Page Marlow, The Qualms (Steppenwolf). TV: Dark Matter, Shining Girls, Somebody Somewhere, The Exorcist, Sirens, The Big Leap, Chicago Med/Fire/Justice, Underemployed, ER. Film: Widows, Working Man. Kirsten is represented by Grossman & Jack Talent.

John Judd (John, he/him) last appeared on the A Red Orchid Theatre stage in Six Men Dressed Like Joseph Stalin, and was previously seen in The Cave, The Malignant Ampersand, and Gagarin Way, as well as the McCarter Theatre's presentation of Simpatico. A Chicago based actor for forty years, John has acted at The Goodman, Steppenwolf, Chicago Shakespeare Theater, Writer's Theatre, Court Theatre, Drury Lane, Northlight, Shattered Globe, Lookingglass, Victory Gardens and Next, as well as numerous regional, international and Off-Broadway venues.

Cassidy Slaughter-Mason (Caitlyn, she/her) is a Chicago based actor and writer. Recent theater credits include: Brooklyn Laundry (Northlight Theatre), The Luckiest (Raven Theatre, Equity Jeff Award for Best Performer in a Principal Role), How a Boy Falls (Northlight Theatre), Kiss (Haven Theatre), Significant Other (Theatre Wit/About Face) and Rapture Blister Burn (Goodman Theatre, Equity Jeff nomination for Performer in a Supporting Role). Film and TV credits include: All Happy Families, Ultra-City Smiths, Chicago Fire and Easy. Her short film Rabbit Rabbit (co-written with Poppy Golland) will stream this spring on OpenTV. Cassidy is represented by Paonessa Talent Agency.

About A Red Orchid Theatre:

A Red Orchid Theatre has served as an artistic focal point in the heart of the Old Town community of Chicago since 1993 and was honored with a 2016 MacArthur Award for Creative and Effective Institutions. Over the past 32 years, its Resident Ensemble has welcomed into its fold an impressive array of award-winning actors, playwrights and theatre artists with the firm belief that live theatre is the greatest sustenance for the human spirit. A Red Orchid is well known and highly acclaimed for its fearless approach to performance and design in the service of unflinchingly intimate stories.  

A Red Orchid Theatre is: Karen Aldridge, Lance Baker, Kamal Angelo Bolden, Esteban Andres Cruz, Dado, Mike Durst, Sherman Edwards, Myron Elliott, Jennifer Engstrom, Kirsten Fitzgerald, Joseph Fosco, Steve Haggard, Levi Holloway, Mierka Girten, Larry Grimm, John Judd, Karen Kawa, Karen Kessler, Travis A. Knight, Danny McCarthy, Shade Murray, Brett Neveu, Sadieh Rifai, Grant Sabin, Michael Shannon, Guy Van Swearingen, Doug Vickers and Natalie West.  

Those familiar with the Factory Theater space might feel themselves do a double take upon entering the theater for Two Out of Three Falls. Scenic Designer Manuel Ortiz completely transforms the space. The three-quarter thrust stage that has been there for years is gone – replaced by a wrestling ring that consumes an entire side of the theater. The ring is detailed, complete with lockers and wall decoration that completely transform that side of the space into a wrestling gym. To say that Ortiz outdoes himself in this endeavor is an understatement, because you might just find that the design is highly effective in drawing you into the thrilling vibe of the event.

Written by Bill Daniel, Two Out of Three Falls follows Johanna Goodish (Brittany Ellis), a wrestler struggling to step out of the shadow of wrestling legend King Kong Bruiser, also known as her father. Haunted by his literal ghost (Eric Frederickson), Goodish commits to the one act that she feels can set her free – challenging her father’s killer, Eduardo Quinones “El Moreton” (Sam Ramirez), to a wrestling match on live TV. If all goes according to plan, Quinones won’t live to see another day.

Directed by Ashley Yates, much of the production feels like a live wrestling match. As Goodish and her various opponents throughout the play take the ring, audience members at this Opening Night performance screamed and hollered. The design invites audiences to choose their opponent of choice, and you might just find that the intimate feel of the theater makes you feel like you are a part of the action. The work of Fight Designer Kate Lass and Wrestling Consultant Axel Rico shines in these scenes and certainly makes for an entertaining and lively evening.

The high-energy wrestling scenes act as a helpful contrast to some of the more intimate moments of the play – particularly within the relationship of Goodish and her manager, Meg Bishop (SaniaFaith). For so much of the story, Ellis brings a strong, confident character to Goodish. She is unafraid to fight back against her opponents, and she ensures that she is the last one standing at all costs. However, with Meg Bishop, we see a different side of Goodish. Ellis brings a quieter, more grounded character to these scenes. There is a vulnerability between Bishop and Goodish that you might just find helps us believe in this duo win. SaniaFaith and Ellis play off each other beautifully, bringing a genuine humor to the relationship that pushes it over the top.

The hype of the wrestling matches alone makes Two Out of Three Falls worth a watch. The stellar scenic design and strong ensemble make it a night of intrigue and fun.

Two Out of Three Falls runs through July 18 at the Factory Theater – 1623 W. Howard Street. For tickets and information, see the Factory Theater website.

RECOMMENDED

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

When Terry Guest left Atlanta and arrived in Chicago ten years or so ago, a bracing reality check caused the young actor to make a bold pivot.  Three years of auditions and zero bites on the acting front, he turned himself into a playwright and used a deceased uncle as his inspirational muse.  At the Wake of a Dead Drag Queen was born, with Guest placing himself in the starring role.  Rave reviews, real recognition and an impressive collection of Jeff Awards followed.  As they used to say during the dawn of space exploration, “Houston, we have liftoff.”

That was in 2019 and since then the actor and playwright has been exploring other opportunities to extend his keenly astute vision about life and people into the theatrical ecosphere.  More plays were written, last year At the Wake of a Dead Drag Queen was reprised and a brand spanking new dazzler by Guest just launched its world premiere at Jackalope Theatre in Edgewater a few days ago.  If there’s any logic in the universe, it’ll enjoy a very similar reception to his inaugural tour de force.

Because it’s so creatively extravagant, Andy Warhol Presents: The Cocaine Play lives in a universe all its own.  There’s enough drama and suspense to be slightly Hitchcockian, but it’s also unrelentingly funny.   It’s arguably biographical, but not in any way you’d expect.  Because it indulges in the supernatural, you can say it possesses strong elements of mystical realism. Nothing about it is predictable. And it has two endings.  Both killer.

If you had to name one thing that forms its nucleus, it would be fame.  The single name variety.  Blinding individual glory.  Guest probes into what it’s like to have it and what it means to crave it.

We get a sample of the first right at the opening when Marilyn Monroe appears resplendently before us and gives a little run down on what it’s like to be her.   The instant recognition, the automatic smiles, the rapturous attention, the sheer adoration.  But she isn’t “that” Marilyn.  And she’s not really an avatar.  You could say she’s a concept of the blond bombshell turned into flesh. Played with decadent deliciousness by Alexis Ward, she’s the psychological stand-in for the mega-star from Hollywood’s past. 

A quick shift and we’re suddenly in a New York apartment with a woman, Edie Sedgwick, complaining to a friend about her inattentive, I-don’t-understand-him-at-all-anymore, husband. We’ve already learned from the friend she’s talking to, Andy Warhol, that we’ve gone back in time to the 1960s. And even though he’s a painter too and wears a bushy white wig, he’s not that Andy Warhol. Like Marilyn, Andy and Edie are facsimiles of the people we think they are.  And like every other member of the four-member cast, everyone’s Black.

(L to R) David Michael Dowd, Jasmine “Jazzy” Cheri Rush and William Anthony Sebastian Rose II in ANDY WARHOL PRESENTS: THE COCAINE PLAY.

William Anthony Sebastian Rose II occupies the role of Andy, and a more droll, brilliantly glib performance will likely not be seen on another stage anytime soon. He and Edie’s husband Michael (David Dowd) are having a very hot little affair on the side.   Regardless of how trivial or momentous, all interactions are laced with coke. Indulging in cocaine hits is so pervasive it’s like watching piranha in a constant feeding frenzy.

They’re all in the creative arts.  Edie (Jasmine “Jazzy” Cheri Rush) is an actress married a painter.  She and Michael are flat out rabidly ambitious, and both invest the sweat and tears to make it in their crafts.  Unfortunately, their striving just doesn’t end up going anywhere. Andy’s less driven or sure of himself.  Much more reticent.  When an opportunity arises for him and Michael to catch some limelight, it’s Andy, after being pushed by his lover/friend, who prevails.  His portrait of the late Marilyn Monroe catapults him to fortune and fame. 

Guest not only wrote the Andy Warhol script; he also directs this three-act marvel that moves like a bullet train on freshly greased tracks.  This production shows too that he’s a master at shaping performances.  All four glow with a blindingly high gloss.   

The play spans three decades.  Sydney Lynne’s scenic design stamps all of them with genuine uniqueness and style.  Dress transforms with the times too and, in this case, only Edie’s wardrobe changes noticeably as the years roll by.  As costume designer, Maddy Shows makes sure they sync perfectly with the period and sing with class.   Much the same can be said for Ayanna Bakari and that cavalcade of wigs she presents.   Stellar.  

Cohesive and boppin’ original music binds the play together from the very beginning to the absolute end, yielding what can only be called yet another delectable surprise bonus.

Fame, we later find, isn’t sitting all that well with Andy.  Something about it is oppressive and Marilyn keeps showing up like a specter he’d really like to leave him alone for a while.  Still treading water, Edie and Michael aren’t faring much better.  She left for LA to try and make it in the movies since NY never ignited. Micheal continues to paint in the Big Apple and remains mired in the same obscurity.   The chance at a long shot makes him desperate, brings his resentment regarding Andy’s success to the fore and sets him to scheming.  After all, he rationalizes, Andy would never be where he is if it weren’t for him.  Things then turn very dark and get just as hot.  Hence the first ending that’s so intense there should be a way to one day to enshrine it in the National Archives.

It’s the second closing that comes out of nowhere that will blast your other sock off.

Andy Warhol Presents: The Cocaine Play

Through July 6, 2026

Jackalope Theatre

Broadway Armory Park

5917 N. Broadway Street

Chicago, IL  60660

For more information and tickets:  https://www.jackalopetheatre.org/

Highly Recommended

When Jason Robert Brown’s The Last Five Years premiered at Chicago’s Northlight Theatre in 2001, it flipped the traditional rom-com musical blueprint on its head. Off came the rose-colored glasses, and what was presented was an intimate, searing, and structurally unique take on the modern relationship, inspired by Brown’s own love and loss. Now, twenty-five years later, this piece, directed by Christina Ramirez, returns to Chicagoland at Oil Lamp Theater in Glenview. The Last Five Years presents the entire course of a relationship between Jamie, a rising author, and Cathy, a struggling actress – from the first hello to the final goodbye – performed by only two actors, who take turns singing their hearts out in this vocally demanding score.

Structure is everything in this show. Jamie’s timeline starts from the high of their first date and moves chronologically, while Cathy’s story begins at the end and moves backward. They meet only once, in the middle, for their wedding, and then move in opposite directions.

Lili Galluzzo, playing Cathy, is an absolute powerhouse. She commands the stage with a voice that can belt to the rafters, packing an emotional punch with every note. Whether she is navigating the comedic neuroses of “A Summer in Ohio” or the crushing vulnerability of “I'm Still Hurting,” she conveys unvarnished emotion that anchors the production's vocal stakes.

As Jamie, Abraham Deitz-Green has an effortless, magnetic charm. From his opening number, he is clearly having fun, schmoozing the crowd and winning the audience over with ease. He infuses the ambitious young novelist with infectious likability. In fact, it makes it hard for the audience to decipher who is at fault more in this relationship, forcing them to question everything, just as the leads do.

Perhaps Cathy is too pessimistic? Years of career letdowns have tainted her perspective on life, and misery loves – needs – company. Maybe she can’t be happy unless Jamie is unhappy too. Or perhaps Jamie was always emotionally unavailable? As his career takes off, does he want to give himself sacrificially to another person, or does he want to be the new, shiny toy on the scene? Maybe he only wants to reap the benefits of love without caring for it. These are the questions the audience is wrestling with thanks to their strong performances.

Lili Galluzzo in THE LAST FIVE YEARS from Oil Lamp Theater.

But while individually the leads command the stage, their chemistry together left something to be desired. The musical’s structure itself doesn’t help much. After all, the majority of the time, they sing alone, interacting only with props. So, the anticipation of them finally being in the same timeline, sharing space, perhaps places an undue burden on the moment. Still, their big song together, which is also their wedding song, felt flat. The same charm that Jamie had when he landed his big break was gone, and the fire that Cathy had joking about Ohio was missing. Given that this was opening night, the chemistry may well evolve as the actors settle into each other’s timing, but in this performance it was noticeably absent. Since that crucial piece wasn’t there, it felt a little as if these characters never truly understood each other from the start. Were they truly lovers or just lines intersecting at a point?

Oil Lamp’s space is the perfect venue for this intimate show. The set really doesn’t need much; the songs are the main course. But the set was a bit of a distraction. Flat panels slid on and off stage to delineate different locations or the passage of time, but they were rather clunky when they were moved, like a stubborn shower door. At other times, Jamie entered from behind the audience, stepping directly in from the street. The sudden opening of the door and the outside light coming in pulled one out of the moment. The scenes that worked best were those which used lighting to direct your focus and shine on Jamie or Cathy as they untangled their vulnerabilities or drew you in with bursts of emotion.

The Last Five Years is a unique art piece, and its story is not for everyone. Can love and ambition mix, or are they oil and water? This untraditional, somber look at relationships offers unflinching moments, lush and playful songs, and questions you have to wrestle with – no doubt why it has found its way into the hearts of many musical theatergoers. Whether you're "Team Jamie" or "Team Cathy," fans of this modern musical will certainly fall in love with Oil Lamp’s rendition, thanks to the dynamic performances of its leads. They perform this high-wire act with skill and vocal precision, bringing this complex story to life with incredible emotional depth.

The Last Five Years plays at Oil Lamp Theater now through July 19th.

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

Some stories refuse to fade with time, and Brokeback Mountain is one of them. What began as a modest short story by Annie Proulx in The New Yorker in 1997 grew into an award-winning literary work, an acclaimed film, and now a deeply moving stage adaptation by Ashley Robinson at Chicago Shakespeare Theater. Under the assured direction of Jonathan Butterell, this production achieves something rare: it honors the source material while creating an emotionally overwhelming theatrical experience that stands on its own merits.

Proulx's story unfolds in 1963, in a world where homophobia was not merely accepted but embedded within the culture. In rural America, far removed from urban centers and decades before meaningful LGBTQ+ rights protections, Ennis Del Mar and Jack Twist find themselves trapped between the lives they are expected to live and the love they cannot deny. Although the story concludes in 1983, its themes remain startlingly relevant. The prejudice that shaped their lives has not disappeared; it has simply changed forms.

Butterell's direction is masterful. He understands that the power of Brokeback Mountain lies not in grand declarations but in silences, glances, and opportunities missed. Every scene is infused with aching restraint, allowing the audience to feel the enormous weight of what remains unspoken. The result is a production that slowly tightens its grip on the audience.

Harrison Ball delivers a remarkable performance as Ennis Del Mar, capturing the character's stoicism, fear, and buried longing with heartbreaking precision. Opposite him, Jack Cameron Kay gives Jack Twist an irresistible warmth and optimism, making his refusal to surrender to a life of secrecy all the more poignant. Together, the two actors create a chemistry so natural and compelling that the audience becomes deeply invested in every stolen moment they share.

The supporting cast is equally extraordinary. Cordelia Dewdney's Alma Del Mar is nothing short of revelatory. Dewdney charts Alma's transformation from a hopeful young wife into a woman forced to confront painful truths with astonishing emotional depth. Her performance is so finely calibrated, so emotionally authentic, that it feels destined for award recognition. Every look, every hesitation, every moment of heartbreak lands with devastating force. It is one of the finest performances currently on a Chicago stage.

Thomas Cox and Kat Eggleston excel in multiple roles, helping populate the world around Ennis and Jack with richly drawn characters. Eggleston's work as the Balladeer provides a haunting thread that runs through the production, giving voice to emotions the characters themselves cannot express.

Tom Pye's scenic and costume design is stunning in its simplicity. With minimal elements, he evokes the sweeping grandeur of Wyoming's mountains and the claustrophobic domestic spaces that confine the characters for much of their lives. The contrast is striking. On Brokeback Mountain, Ennis and Jack briefly experience freedom. Everywhere else, they are hemmed in by expectations, obligations, and fear. Sammi Grant's dialect coaching enriches the production, lending authenticity to the Wyoming accents and further immersing the audience in the world of the play.

What makes this production particularly resonant is its willingness to confront the societal forces that shaped Ennis and Jack's tragedy. The play never becomes didactic, yet it clearly illustrates how homophobia was reinforced by cultural institutions, including religious traditions and biblical interpretations that were frequently used to condemn same-sex relationships and enforce rigid definitions of masculinity. Whether through family expectations, community pressure, or appeals to religious authority, the message was clear: people like Ennis and Jack were expected to deny who they were. The production allows audiences to witness the devastating human cost of those beliefs without reducing its characters to symbols or political arguments.

Although Brokeback Mountain is not a musical, musical elements are woven seamlessly into the storytelling, becoming an emotional landscape of their own. Rather than interrupting the narrative, the ballads deepen it, expressing feelings that the characters are unable to articulate. Combined with the breathtaking visual and emotional scope of the production, the music helps transform the story into something more.

What is most impressive is how contemporary the play feels. Nearly forty years after the events depicted, Brokeback Mountain remains a cautionary tale about the consequences of intolerance and the lives damaged when love is forced into secrecy. Yet it is also a story of resilience, desire, and the human need for connection.

Chicago Shakespeare Theater has delivered one of the most powerful productions of the season. Under Jonathan Butterell's direction, every artistic element works in harmony to create an evening of theater that is both intimate and epic. It would not be surprising to see this production enjoy a future life beyond Chicago. The quality of the staging, the strength of the performances, and the universal appeal of the material suggest a production that could fare exceptionally well in New York and beyond.

Brokeback Mountain is theater at its finest—beautifully acted, exquisitely directed, emotionally devastating, and utterly unforgettable. It is not merely a revival of a story; it is a production that reminds us why stories like this continue to matter. And in Jonathan Butterell's hands, it soars.

Highly Recommended

Running Time: 90 minutes

When: Through June 28

Where: Chicago Shakespeare Theater 800 East Grand Avenue in Chicago

Tickets: $65 - $125

Box Office: 312-595-5600

Info: www.chicagoshakes.com

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