Displaying items by tag: chicago theatre

Writers Theatre, under the leadership of Executive Director Kathryn M. Lipuma and Alexandra C. and John D. Nichols Artistic Director Braden Abraham, continues its 35^th Anniversary Season with the highly-theatrical historical boxing drama The Royale from Marco Ramirez (Orange is the New Black, Buena Vista Social Club) and directed by Tyrone Phillips (Fat Ham; Byhalia, Mississippi). Inspired by the first Black world heavyweight champion and Chicagoan Jack Johnson, The Royale follows Jay "The Sport" Jackson as he fights for his place in history, The Royale will run October 22 – November 29, 2026 in the Alexandra C. and John D. Nichols Theatre at 325 Tudor Court, Glencoe. 

Jay is a really good boxer, so good they call him "The Sport." He's won his last seventy-six fights and has his sights set on being crowned the next heavyweight champion. But it's 1905, and in the Jim Crow era, a Black man doesn't get to fight a reigning white champion. When a surprising chance at the title appears, Jay gears up for the fight of his life—where the stakes are staggeringly high inside the ring and out. Inspired by real-world boxer Jack Johnson, this adrenaline rush of a play by Marco Ramirez (Orange is the New Black, Buena Vista Social Club) is a kinetic and poetic portrayal of what it takes and what it costs to make history. 

"The Royale is inspired by the boundary-breaking boxer Jack Johnson and the price of his determination to get to the top, As Jay's obstacles grow, so does his determination, his pride, his discipline and the costs to the people who love him," comments says Alexandra C. and John D. Nichols Artistic Director Braden Abraham. "Director Tyrone Phillips and his incredible ensemble of performers will conjure an entire world and its systemic tension using a captivating blend of rhythmic and percussive choreography. It's an invigorating way to continue our 35th season at Writers with a play built from a piece of American history too often left out of the story."

The cast of The Royale includes: La'Tevin Alexander (Jay), Scott Aiello (Max), Ajax Dontavius (Fish), James Vincent Meredith (Wynton), AnJi White (Nina). The understudies are Yomade Adefeso (Jay Understudy; Fish Understudy), Kristin Ellis (Nina Understudy), Joel Gelman (Max Understudy), Frederick Paul Williams (Wynton Understudy).

The creative team includes: Tyrone Phillips (Director), Rasell Holt (Movement Director), Lauren M. Nichols (Scenic Designer), Gregory Graham (Costume Designer), Jason Lynch (Lighting Designer), Stephanie Farina (Sound Designer) and Kenya Hall (Dramaturg). The stage manager is Imani M. Ross.

Single Tickets for The Royale start at $35 are now on sale at the Writers Theatre Box Office at 325 Tudor Court, Glencoe, by calling 847-242-6000, and at www.writerstheatre.org.

About the Artists

Marco Ramirez (Playwright) has had plays produced at Lincoln Center Theater, The Kennedy Center, The Humana Festival, The Old Globe (San Diego), The Bush Theatre (London), American Theater Company (Chicago), Soulpepper (Toronto) and Center Theatre Group (LA). Honors include Helen Hayes and Drama Desk nominations, the Outer Critics Circle's John Gassner Playwriting Award, Juilliard's Lila Acheson Wallace Playwriting Fellowship, Lincoln Center's Le Comte du Nouy Award and TCG's Edgerton Foundation New Play Award. Marco is also a WGA and Emmy Award-nominated TV writer and producer, where his credits include Marvel's Daredevil (Netflix), Marvel's The Defenders (Netflix), Sons of Anarchy (FX), Orange is the New Black (Netflix) and Fear the Walking Dead (AMC).

Tyrone Phillips (Director) is the founding Artistic Director of Chicago's Definition Theatre. Recipient of the 2022 Alumni Award for Diversity and Inclusion, he is a graduate of the University of Illinois at Urbana-Champaign and has studied abroad at Shakespeare's Globe. As a first generation Jamaican-American, Tyrone is passionate about equity, diversity, inclusion and accessibility in the fine arts industry and has completed advanced anti-racism training to lead change in our community. Select theater credits: Definition Theatre, Chicago Shakespeare, Goodman, Steppenwolf, Writers, Old Globe, Berkeley Rep, Milwaukee Rep, St. Louis Rep and Stage 42 (off-Broadway). Tyrone is currently adjunct faculty at DePaul University and serves on the Board of Directors for the League of Chicago Theaters. He is the recipient of the Inaugural Arts Midwest Peter Capell Award for Midwestern Creativity and Entrepreneurship and proud member of SDC, SAG-AFTRA and the NAACP. 

La'Tevin Alexander (Jay) is making his Writers Theatre debut. Regional credits include Joe Turner's Come and Gone as Herald Loomis (Penumbra Theatre); The Piano Lesson as Lymon (Milwaukee Rep and Cincinnati Playhouse In The Park); The Light as Rashad (Portland Center Stage); Paradise Blue as P-Sam (Portland Playhouse); A Christmas Carol as Scrooge (Portland Playhouse); Reggie Hoops as Muncie (Profile Theatre); and Dracula: A Feminist Revenge Fantasy as Jonathan Harker (Portland Center Stage). Film credits include Outdoor School (2025); Test Screening (2024); The Paper Tigers (2020); Marry, Fuck, Kill (2024); and Dearest Eva (2022). Television credits include: DELPHI (Prime); CHAD (TBS); The Wonderland Murders (ID); Portlandia (IFC); and Grimm (NBC). He has a BA from Florida A&M University.

Scott Aiello (Max) is returning to Writers Theater, where he previously appeared as Duke Frederick in As You Like It. Other Chicago Theater credits include: Ma Rainey's Black Bottom (Goodman), Hamlet (SS), A Midsummer Night's Dream (SS), Henry V and Richard III (Chicago Shakespeare), A View From the Bridge (Shattered Globe), Perfect Mendacity (Steppenwolf), Awake and Sing! (Timeline). T.V. and film: American Rust (Showtime, Recurring), Billions (Showtime, Recurring). Joseph Jefferson Awards- Leading Actor in a Play (A View From the Bridge, Shattered Globe, 2024), Supporting Actor in a Play (Broadway Bound, Pegasus Players, 2002) Scott has narrated over 300 audiobooks. Training: The Juilliard School.

Ajax Dontavius (Fish) is a Haitian-American actor. Recent credits include: Blues for an Alabama Sky (Seattle Rep and Remy Bumppo Theatre); Last Night and The Night Before (Steppenwolf Theatre); Measure for Measure (Chicago Shakespeare Theater); Fences (American Blues Theater); and Middle Passage (Lifeline Theatre). Television: NCIS: Origins, Chicago Fire, Chicago P.D., 61st Street. Education: B.F.A. Acting – Roosevelt University/Chicago College of Performing Arts.

James Vincent Meredith (Wynton) previously appeared at Writers Theatre in The Dutchess of Malfi and Othello. Broadway credits include Skin of Our Teeth (LCT), Book of Mormon (Eugene O'Neill, also National Tour), The Minutes, and Superior Donuts (both Music Box). Local credits include work at Chicago Shakespeare, Goodman, Court, Victory Gardens and Steppenwolf (ensemble member since 2007). Recent Television credits include Fargo (FX), Emperor of Ocean Park (MGM), Your Honor (Showtime), 61st Street (AMC/CW)

AnJi White (Nina) hails from the South Side of Chicago. She last appeared in Covenant and Fat Ham (Goodman Theatre). Some Chicago credits include East Texas Hot Links (Court Theatre, Jeff Award for Best Supporting Actress); For Colored Girls (Court Theatre Jeff Award for Best Ensemble); Sunset Baby (Black Theatre Alliance Award for Best Actress, TimeLine Theatre) and more. Regional credit: Paradise Blue (Studio Theatre in D.C., Helen Hayes for Outstanding Supporting Performer). TV credits include: Marvel's Ironheart, Fargo, 61st Street and more.

The Royale

Written by Marco Ramirez
Directed by Tyrone Phillips

Alexandra C. and John D. Nichols Theatre

October 22 – November 29, 2026

Cast: La'Tevin Alexander (Jay), Scott Aiello (Max), Ajax Dontavius (Fish), James Vincent Meredith (Wynton), AnJi White (Nina), Yomade Adefeso (Jay Understudy; Fish Understudy), Kristin Ellis (Nina Understudy), Joel Gelman (Max Understudy) and Frederick Paul Williams (Wynton Understudy).

Creative Team: Tyrone Phillips (Director), Rasell Holt (Movement Director), Lauren M. Nichols (Scenic Designer), Gregory Graham (Costume Designer), Jason Lynch (Lighting Designer), Stephanie Farina (Sound Designer), Kenya Hall (Dramaturg) and Imani M. Ross (Stage Manager).

Performance Schedule: 

Wednesdays: 2:00pm and 7:30pm 

Thursdays: 7:30pm  

Fridays: 7:30pm  

Saturdays: 2:00pm and 7:30pm  

Sundays: 2:00pm and 7:00pm 

Open Captioned Performance: Thursday, November 19 at 7:30pm 

ASL-Interpreted Performance: Saturday, November 14 at 2:00pm 

Pay-What-You-Can Performances: Thursday, October 22 at 7:30pm and Sunday, November 22 at 7pm

Location: Alexandra C. and John D. Nichols Theatre, 325 Tudor Court, Glencoe 

Prices: $35+

Discounts are available for students, educators, theater industry professionals, active military personnel, veterans, police officers, firefighters and their immediate families. Information is available at: https://www.writerstheatre.org/plan-your-visit/box-office-and-theatre-center/pricing--special-offers 

Box Office: The Box Office is located at 325 Tudor Court, Glencoe; 847-242-6000; www.writerstheatre.org 

Single tickets will go on sale Tuesday, September 1. Flex subscriptions and tickets are available online at www.writerstheatre.org, and at the Box Office by calling 847-242-6000. 

LUMA8 and the City of Chicago return with the 12^th Annual Arts in the Dark Halloween Parade, a family-friendly celebration of Chicago’s cultural landscape and creative spirit, featuring unique floats, spectacle puppets, and all forms of artistic performance on Saturday, October 24, from 6-8 p.m. along Columbus Drive, with the parade stepping off at Balbo Drive and marching north to Monroe Drive. This magical evening procession celebrates Halloween as the “artist’s holiday” and draws together participants from cultural organizations, creative youth programs, and artists in every field and from every ward of Chicago. Named ‘one of the best Halloween celebrations in the world’ by UK-based Wanderlust Magazine and included in USA Today’s 10 best Halloween parades, this dazzling production delights an audience of over 100,000 with a wild mash-up of masks, costumes, dancers, musicians, artists, spectacle, circus and fire artists, creative guilds, art cars, and much more. Arts in the Dark is sponsored by Chicago Free For All Fund, with major support from Chicago Loop Alliance and Goodwill of Greater Milwaukee and Chicago. It is produced in partnership with The Department of Cultural Affairs and Special Events (DCASE) and the Chicago Park District.

While the Arts in the Dark parade is a Halloween event, participants are not bound by a Halloween theme; each group is invited to showcase who they are as an organization with music, dance, costumes, and other dramatic visual elements. This year’s parade will feature a fire-breathing dragon, 2 giant alebrijes, a 60-foot glow worm, 10 drumlines, 10 marching bands, 20 Mexican cultural groups of over 1,000 performers, hundreds of mesmerizing puppets and dramatic masks and costumes, scores of dance troupes including a bevy of groups capturing the power of Black dance, a collection of LGBTQ+ groups, 3 colleges (including Columbia College bringing hundreds of arts students), 11 high schools, 30+ dance companies, and music groups across genres. Virtually every Chicago neighborhood is represented, and over 75% of the groups are comprised of creative youth – showcasing the grit, commitment, and talent of young people from across the city.

“This is a signature event for Chicago’s cultural community that brings together artists, creative youth and cultural organizations across the city on such a large scale – and in playful solidarity in the name of art,” said Mark Kelly, Arts in the Dark Co-founder and Artistic Director. “Over the course of the night, the audience and parade will merge as one in celebration of this magical evening procession. In the spirit of our parade, we encourage parade-goers to show up in costume.”

The parade will feature Creative Guilds, a collection of creative professionals from different organizations who will come together to honor their respective fields. These guilds include architects (50 individuals wearing their own sculptural headpiece creations), photographers (acting as “paparazzi” documenting the event from inside the parade), writers, poets, and visual artists.

Additionally, the parade will continue its tradition of honoring Creative Spirits who will be introduced and honored at the parade. This year’s Creative Spirits include:

Marty Lennartz - Esteemed and prolific 93XRT radio host for 45 years

Mayda de Valle - Poet Laureate of Chicago and renowned educator and artist

Barbara Gaines - Beloved Founder and Artistic Director of Chicago Shakespeare Theater

Peter CottonTale - Multi-platinum, GRAMMY Award-winning musician, producer, and composer

"We are delighted to welcome the Chicago Free For All Fund as the lead sponsor of Arts in the Dark for 2026," said Sharene Shariatzadeh, President & CEO of LUMA8. "Their support has been instrumental to this parade's growth and success over the years, and having them step forward as our lead sponsor for this pivotal year is a tremendous vote of confidence in everything we've built together. We're also honored to have received a 2026 Chicago Presents Grant from DCASE, and to continue our partnership with Chicago Loop Alliance and Goodwill Greater Milwaukee & Chicago, whose major support helps bring this magical night to life."

The parade will also bring back by popular demand the spectacular DIY costume contest for parade-goers, presented by Goodwill Greater Milwaukee & Chicago – a major supporter of the Arts in the Dark parade. Goodwill invites Chicagoland residents to participate in The Haunted Runway Costume Contest by creating a parade-ready look. To enter the contest, folks can shop at their local Goodwill to create a DIY or homemade costume, snap a photo of the look, and submit it online at bit.ly/TheHauntedRunway. All entries must be submitted by the deadline on October 5. After community voting, five finalists will showcase their artistry in the parade, where thousands of parade-goers will cast their vote for the ultimate winner. Contest rules, eligibility, and details are available at HERE.

Arts in the Dark is presented by LUMA8 and the City of Chicago and sponsored by Chicago Free For All Fund, with major support from Chicago Loop Alliance and Goodwill of Greater Milwaukee and Chicago. It is produced in partnership with the Chicago Department of Cultural Affairs and Special Events (DCASE) and the Chicago Park District. Support for Arts in the Dark also is provided by Blue Plate Catering, CHOOSE Chicago, Harris Theater – Millennium Park, Ferrara, Industry Ales, Italian Village Restaurants, Millennium Garages, William Blair, and the LUMA8 Board of Directors. Arts in the Dark is a part of Mayor Brandon Johnson’s Fall Fest 2026. LUMA8 also acknowledges support from the Illinois Arts Council.

About LUMA8 (Light Up My Arts)

LUMA8 is an independent not-for-profit that strives to elevate Chicago as a focal point of artistic innovation to enrich the lives of its citizens and create economic impact. www.luma8.org

About the Department of Cultural Affairs and Special Events

The Department of Cultural Affairs and Special Events (DCASE) is dedicated to enriching Chicago’s artistic vitality and cultural vibrancy. This includes fostering the development of Chicago’s non-profit arts sector, independent working artists and for-profit arts businesses; providing a framework to guide the City’s future cultural and economic growth, via the 2012 Chicago Cultural Plan; marketing the City’s cultural assets to a worldwide audience; and presenting high-quality, free and affordable cultural programs for residents and visitors. https://www.chicago.gov/city/en/depts/dca.html

About Chicago Loop Alliance
Chicago Loop Alliance (CLA)’s mission is to lead the community by creating and supporting inclusive programs that attract people and investment to the Loop. CLA is a membership organization as well as the sole service provider for Special Service Area#1-2015, and the Chicago Loop Alliance Foundation produces public art projects and events. For more information, please visit LoopChicago.com.

About Goodwill Greater Milwaukee & Chicago

Goodwill Greater Milwaukee & Chicago is a 501(c)(3) nonprofit that enhances the dignity and quality of life for individuals and families by strengthening communities and eliminating barriers to opportunity. Shopping at and donating to Goodwill keeps items in use and supports community programs and services that help people build skills, find a job and connect to resources like housing, food and transportation.

Learn more about community services offered by Goodwill in Greater Chicago and find store locations at www.goodwillgreatermc.org.

For more information visit www.artsinthedark.org , LUMA8.org.

Lookingglass Theatre’s production of Kowalski offers a gripping, fictionalized glimpse into the first meeting between two theater greats: Tennessee Williams and Marlon Brando. Set in 1947 in a dilapidated beach house, the plot revolves around the legendary playwright as he puts the finishing touches on his landmark work, A Streetcar Named Desire. As he searches for the actor to embody the raw, animalistic energy of Stanley Kowalski, a young, unknown Marlon Brando arrives at his doorstep, having hitchhiked from New York at the behest of director Elia Kazan. What follows is a matching of wits as the two men size each other up over one emotional rollercoaster of an evening.

While theater lore holds that Brando delivered a stunning cold read that instantly entranced Williams, this narrative reimagines the fateful event with far more tension. Here, Brando is cold and calculating, intentionally manipulating the playwright while using a carefully constructed facade of vulnerability and raw power to charm his way into the iconic role. Williams is no saint either, finding ways to toy with the young actor by dangling the part just out of reach.

At the core of the production's success are incredible performances by Johnny Galecki and Jacob Moskovitz, both of whom completely lose themselves in these legendary figures. Known for starring in Roseanne and The Big Bang Theory, for which he earned an Emmy nomination, Galecki captures Tennessee Williams down to his distinct physical posture and Southern warmth. Moskovitz, who recently starred in Amazon’s Elle, a prequel series for Legally Blonde, delivers a striking turn as Marlon Brando. Beyond impeccably hitting Brando's distinct vocal cadence, Moskovitz imbues the character with a guarded, mysterious quality that feels both distant and intimate. Their chemistry transforms the stage into an intense battle of wits as two formidable forces try to push each other to the breaking point.

(from left) Johhny Galecki as Tennessee Williams, Alison Cimmet as Margo Jones, Ellie Ricker as Jo, and Jacob Moskovitz as Marlon Brando. Photo by Michael Brosilow.

In this reviewed performance, understudy Paige Cilluffo stepped into the role of director Margo Jones, usually played by Alison Cimmet. Cilluffo’s performance was compelling, bringing an effortless, era-appropriate authenticity that blended naturally into the story's world.

The staging is elevated by excellent set design, which immerses the audience directly inside Williams' personal space. The intimate environment makes viewers feel like eavesdroppers on a sizzling face-off.

Written by Gregg Ostrin, Kowalski features razor-sharp dialogue and wit, blending history and modern culture to create a fascinating, behind-the-scenes "what-if" scenario filled with humorous nods to Streetcar and theater days of old.

Before arriving in Chicago, Kowalski ran Off-Broadway in early 2025 with Robin Lord Taylor as Williams and Brandon Flynn as Brando. The only cast members from that production to transfer to Chicago were Alison Cimmet (as Margo Jones) and Ellie Ricker (as Jo). It is the hope of the creative team to eventually bring this piece to Broadway, and with a few tweaks – mainly smoothing out the edges of Jo, who currently feels more like a plot device than a fully realized character – this captivating play is certainly ready.

With excellent direction from Colin Hanlon, Kowalski is driven by a razor-sharp script and remarkably nuanced portrayals from Johnny Galecki and Jacob Moskovitz. Their honesty and raw talent on stage anchors the drama perfectly and keeps the audience locked in for entire evening, wondering what twist will happen next.

Kowalski runs until October 25, 2026. *Extended through November 8th!

https://lookingglasstheatre.org/plays/kowalski/

Rivendell Theatre Ensemble closes its milestone 30th season with Bonnie’s Last Flight, a sly, sky‑high comedy set during a flight attendant’s final day on the job - a blend of sharp satire and warm, traditional character comedy that’s genuinely, disarmingly funny. Jan has always carried a quiet love for writing, and now she’s earned a spot in an elite program - a dream she’s never fully allowed herself to chase. Handing over her wings means more than leaving the airline; it means finally giving herself permission to focus, to create, and to figure out who she is when she’s no longer defined by the job that shaped her life. But instead of treating her retirement as a tidy celebration, the play leans into the strange limbo that comes when a long‑held identity is about to disappear. Jan isn’t just stepping off a plane - she’s stepping out of the role that has shaped her routines, her friendships, and the way she moves through the world. That kind of transition can feel exhilarating, but it can also feel like freefall: What happens when the structure you’ve relied on for decades suddenly dissolves? Who are you when the uniform comes off?

Around her, the cabin is filled with a wonderfully mismatched crew navigating their own turbulence. Greig, her closest colleague - and one of the few people Jan truly considers family - is somehow the only person on board who doesn’t realize this is her final flight. While Jan quietly braces for the unknown, Greig clings to nostalgia – reminiscing about the 70s and 80s when people flew with style and grace, which in turn translated to proper behavior as passengers. LeeAnne, the rookie attendant, is still wobbling her way through the basics and is convinced the rest of the crew resents her simply for being young. Meanwhile, the Captain - who relies a little too heavily on mid‑air “comforts” - and the Co‑Pilot form an offbeat duo doing their best to keep the ride smooth and the mood light, even as everything around them threatens to veer off course. And then there’s Mark Twain – Jan’s guiding light and inspiration - drifting through the cabin like a sardonic travel spirit, adding an off‑kilter, almost dreamlike layer to the already unpredictable atmosphere. At any given moment, he might toss out a Twain‑ish zinger like, “Don’t argue with stupid people - they’ll drag you down to their level and beat you with experience.”

And yes - the title Bonnie’s Last Flight does mean something specific. The play waits to share it, and it’s worth letting that moment land on its own.

Paul Oakley Stovall as Greig and Rebecca Spence as Jan. Photos by Jenn Udoni.

Rivendell’s latest offering finds sharp, playful humor in every recognizable quirk of air travel - from the ritual of cramming bags into overhead bins to the exaggerated seatbelt pantomime, from the sad little routines of in‑flight food service to the collective sigh of a delayed takeoff, and even the inevitable moment when the Boingo internet keeps going down. Playwright Eliza Bent (The Regulars, Karen, I Said) threads these details together with wit and oddball charm - comic gold, really - especially in the way she captures the crew’s half‑coded, half‑conspiratorial communication style. Director Devon de Mayo amplifies that energy by staging the entire piece as an 85‑minute real‑time passage through the air on the gloriously scrappy Smelta Airlines, traveling from “use your imagination” to Chicago. Audience members are assigned boarding groups before entering, and once inside, the immersion never breaks - we are the passengers, and the cast treats us as such. In Rivendell’s intimate 40–50 seat house, the action unfolds close enough to feel immediate, with scenes playing out just a few feet away and often surrounding you entirely. Surprise song‑and‑dance numbers erupt out of nowhere and are executed with precision that feels almost impossible in such close quarters. As someone who now dreads flying, I thoroughly enjoyed being on this airborne adventure.

On top of the cleverly crafted script and fine‑tuned direction, the cast’s blend of Rivendell regulars with notable newcomers is the last flourish that makes the whole thing take off. Rebecca Spence, a longtime Rivendell ensemble member fresh off her appearance in Chicago Shakespeare Theater’s Fault directed by Jason Alexander and her screen work on Taylor Sheridan’s The Madison, returns with a commanding presence as Jan, grounding the production with a performance that moves effortlessly between wry humor and quiet emotional depth. Up close, we see what a truly talented actor she is - we feel every beat of her internal calculus, the uncertainty, the flickers of excitement, the moments of reflection, and even the disappointments, all delivered with a subtlety that makes her journey resonate long after the plane arrives in Chicago.

Eric Slater (left) as Pilot and Glenn Obrero as Co-Pilot in Bonnie's Last Flight.

Spence is joined by fellow Rivendell ensemble members Jessica Ervin, Eric Slater, and Glenn Obrero, each bringing sharp timing, confident comic instincts, and just the right touch of vulnerability when the moment calls for it, with Paul Oakley Stovall and LaKecia Harris rounding out the cast as fantastic additions who elevate the ensemble’s already cohesive dynamic.

Eric Slater’s dry‑witted Captain/Pilot lands every beat with understated precision, while Jessica Ervin’s off‑balance LeeAnne provides a wonderfully unpredictable charge that never feels forced. Glenn Obrero’s earnest Co‑Pilot (“Jesus,” as the Captain likes to refer to him), brings a lovable silliness along with genuine warmth, a combination that gives the show extra bounce. Paul Oakley Stovall, a standout as Greig, draws on his wide‑ranging stage experience to deliver a performance full of nuance, comic assurance, and centered emotional presence that adds unexpected depth to the production. The ensemble’s cohesion is further strengthened by LaKecia Harris, whose turn as Mark Twain brings a sly, confident rhythm that meshes seamlessly with the group’s comic fabric. Together, they’re dynamite - fully in tune with one another and performing with the cohesion of a team that’s been flying together for years.

At its core, Bonnie’s Last Flight is less about airline chaos and more about the uneasy moment when a person realizes the next chapter of life doesn’t come with a boarding pass. Jan is standing at the edge of retirement, a place where excitement and dread blur together. Leaving a long‑standing job can feel like stepping off a moving walkway: suddenly the rhythm that shaped your days disappears, and you’re left wondering who you are without the role that once defined you. While Jan wrestles with that quiet panic, the rest of the cabin spirals in their own directions - LeeAnne dodging emotional landmines, the Captain leaning too hard on liquid courage, and Erik trying to squeeze a thought into the noise. Beneath the jokes and mishaps, the play nudges at something more human: the fear of losing purpose, the hope of reinvention, and the strange freedom that comes when life forces you to start over.

This design team gives us the feel of being inside an airplane, creating an environment that gently echoes the experience of settling into a cabin. Scenic designer Regina García shapes Rivendell’s intimate space into a compact aircraft interior, complete with a cockpit, a small lavatory, a food‑and‑drink station, and lighted walkways that recall the soft glow of aisle markers guiding passengers to their seats. Saawan Tiwari’s costumes reinforce the world with grounded, character‑specific details that nod to real airline crews without slipping into caricature. Garnett Bell’s lighting adds subtle shifts that mirror the ambience of a cruising cabin or the quick changes that accompany an announcement. And Satya Chavez’s sound design supplies the familiar chimes, the pressurized hush of doors, and the clipped rhythm of airline instructions, creating an auditory landscape that instantly situates us in the sky.

In short: Bonnie’s Last Flight promises a strange, playful, and slightly chaotic airborne adventure - a character‑driven comedy about people stuck in the sky and stuck in their lives, trying to figure out what comes next. The humor lands repeatedly with precision, but what ultimately gives the show its staying power is the heart that surfaces beneath and during the laughs - those small, sincere moments of connection and longing that linger long after the final descent.

Already extended to October 25th at Rivendell’s home on Ridge Avenue, this production is a sure‑fire good time that’s sure to send you back to the friendly skies with a smile. For tickets and more show info, visit https://www.rivendelltheatre.org/bonnieslastflight.

Highly recommended.

There are some productions you watch, and then there are productions that make your heart swoon and your toe tap. Sheldon Epps’ Play On! is definitely the latter. Now playing at Chicago Shakespeare Theater, this exuberant musical takes Shakespeare’s Twelfth Night, moves it to 1930s Harlem, adds the extraordinary music of Duke Ellington, and transforms the story into a celebration of love, ambition, identity and music.

The magical kingdom of Illyria becomes Harlem, where aspiring songwriter Vy (Hailee Kaleem Wright) arrives with dreams of making it in show business. To get close to the legendary bandleader known as The Duke (Edred Utomi), Vy disguises herself as a man. Complications quickly follow when Lady Liv (Krystal Joy Brown) becomes attracted to Vy's alter ego. Shakespeare's mistaken identities remain at the heart of the story, but Cheryl L. West's book gives the familiar comedy a distinctly African American cultural identity.

West's script is hot and popping, filled with rhythm, humor and personality. She understands that the language of Shakespeare can be transformed without losing the comic machinery that makes Twelfth Night work. The characters may come from Shakespeare, but they walk, talk and move to the syncopated Harlem beat of the 1930s.

And that Harlem beat is everywhere.

The company of Chicago Shakespeare’s production of Play On! Photo by Kyle Flubacker.

The production's exciting choreography by Edgar Godineaux captures the elegance, sophistication and exuberance of the big-band era. The ensemble - Marquez Linder, Selena Robinson, Dylan C. Smith, Joey Stone, Shelbi Voss and Danny Dwaine Wells II - keeps the stage alive with movement and energy. The choreography doesn't simply accompany the music; it becomes part of the storytelling.

The Duke Ellington score is the production's heartbeat. Under the musical direction of Theodis Rodgers Jr., with beautiful orchestrations by Luther Henderson Jr., the music has both sophistication and swing. Ellington's compositions give the characters another way to express what they sometimes cannot say in words.

For me, the Harlem setting brought back a very personal theatrical memory. Play On! reminded me of the very first show I ever worked on, Bubbling Brown Sugar by Loften Mitchell, from a concept by Rosetta LeNoire (my theatre Godmother), in New York City. That experience introduced me to the power of Black theatre, music and storytelling existing together onstage. Watching Play On! brought some of that same feeling back—the excitement of seeing Black history, Black music and Black theatrical expression become one living theatrical experience.

That connection makes Play On! particularly meaningful. This isn't simply Shakespeare with jazz added to it. It is a conversation between William Shakespeare and Duke Ellington, two artists separated by centuries but connected through their understanding of human behavior, love, comedy and the power of performance.

The cast embraces that world beautifully. James Earl Jones II brings comic energy and warmth to Sweets, while Alanna Lovely gives Miss Mary a strong and engaging presence. James Harkness brings charm and theatricality to Jester. Alan H. Green gives Rev authority and comic flair.

At the center, Wright's Vy captures the vulnerability and determination of a young artist trying to discover who she is and where she belongs. Brown's Lady Liv brings glamour and emotional power, while Utomi's Duke possesses the commanding presence of a bandleader who has created his own musical kingdom.

Epps understands that the success of Play On! depends upon allowing Shakespeare's story and Ellington's music to breathe together. The result is a production that feels celebratory without becoming superficial, and contemporary without abandoning its literary foundation.

Play On! is Shakespeare filtered through the cultural richness of 1930s Harlem, propelled by Duke Ellington's music and driven by a syncopated Harlem beat.

It is a joyous reminder that great stories can travel across centuries - and sometimes, when the right music is added, they can still make us want to dance.

Highly Recommended

When: Through Oct. 18

Where: The Yard at Chicago Shakespeare Theater on Navy Pier, 800 E. Grand Ave.

Running time: 2 hours, 20 mins.

Tickets: $55-150

312-595-5600

chicagoshakes.com

If anyone has ever told you to buckle up and enjoy the ride, they were talking about life—and even if they didn’t know it, they were talking about Ride the Cyclone, the musical.

When six teenagers die in a rollercoaster accident and end up in purgatory, each arguing their case to be reborn (in song form) to a fortune-telling machine, the audience is given the gift of seeing six individuals as they really are—no pretense, but maybe with some well-earned bells and whistles—as they unapologetically define themselves and fight to extend their too-short earthly lives.

Canadian composers and lyricists Jacob Richmond and Brooke Maxwell bring a carnival disaster and its afterlife to life in their 2009 Ride the Cyclone the musical, which first premiered at the Chicago Shakespeare Theatre in 2015. This Arlington Heights Metropolis Performing Arts Center production is directed by Lillian Castillo, one of the original Ride the Cyclone cast members from the 2015 Chicago Shakespeare Theatre production and on the world premier cast recording, bringing her unique insight to this long overdue 2026 production in the Chicago suburbs, with musical direction by Carolyn Brady.

Front Row: Rylee Michelle as Constance Blackwood, Eldon Warner-Soriano as Ricky Potts, and Alex Merkel as Ocean O’Connell Rosenberg Back Row: Peyton Owen as Noel Gruber and Eric Amundson as Mischa Bachinski. Photography by Jennifer Heim.

Set in the remote town of Uranium City, Saskatchewan, Cyclone follows six members of the St. Cassian High School chamber choir as they ride the Cyclone rollercoaster (not to be confused with New York City’s Coney Island Cyclone built in 1927) and meet their demise when its sends them all plummeting to their deaths before they’d ever really gotten to experience life—or had they?

As the six choir kids wake in a purgatory ruled by the fortune-telling machine Karnak (played impressively by Dave Honigman, who looks and moves like an actual animatronic) they are told that one of them may be reborn to begin again the life that ended for them so swiftly—if, and only if, their fellow choir members unanimously vote for them to be reborn.

Thus begins the real ride, the wild, colorful journeys each teenager takes the audience on as they show us who they are, what they want, and what they each make of their life. And in doing so, they challenge the notion that a short life, or a quiet life, or a purely imaginative life, is not a life well lived.

Dave Honigman as The Amazing Karnak. Photography by Jennifer Heim.

The overachieving Ocean (played delightfully annoyingly and with nuance by Alex Merkel, who straddles the line between a try-hard class president and an unlucky teenage girl struggling to make sense of her fate) sings about her accomplishments, intellect, and drive, brutally putting down her choirmates in the process. 

Others live out the inner life they always wished for on earth, like the only gay kid in town Noel dreaming to be a disease-riddled French prostitute in the 1930s (played with fabulous conviction by Peyton Owen), or the disabled boy Ricky (played charmingly by Eldon Warner-Soriano) sharing his inner reality where he rules a planet of hot humanoid cats.

Eldon Warner-Soriano as Ricky Potts, Alex Merkel as Ocean O’Connell Rosenberg, Peyton Owen as Noel GruberPhotography by Jennifer Heim.

Misha, the Ukrainian transplant, played with the perfect of blend of teenage-boy posturing and vulnerability by Eric Amundson, first raps in hilariously obnoxious autotune before laying his heart bare expressing his love for his online girlfriend Talia. 

Constance, the naive pushover of the group, played with authenticity and sweetness by Rylee Michelle (stepping in for Diana Marilyn Alvarez), sings about the liberation she felt flying through the air to her death and reveals she may have actually been the most worldly and experienced of them all.

Like the Cyclone itself, it’s quite a ride.

Amelia Tam as Jane Doe. Photography by Jennifer Heim.

It even has a spooky factor beyond its dark subject matter: the headless girl, Jane Doe. Losing her head in the accident, Jane’s body was unclaimed at the coroner, she has no memories of who she was, and she’s replaced her head with her doll’s head, giving her a vacant, black-eyed stiffness that makes her creepy but also pitiful.

Played hauntingly and heartbreakingly by Amelia Tam, Jane Doe’s movements and presence are hypnotizing, scary, and sad all at once. The only character who sings in an operatic soprano, Jane steals the show every time she’s featured, her “Ballad of Jane Doe” possibly being the strongest song in the musical, where she first laments then rages about her death and the tragedy of being anonymous even to herself.

As director Lillian Castillo describes in her director’s note, composer Jacob Richmond wrote this show in response to his sister’s tragic and unexpected death. When she passed and became an anonymous statistic in a news story, “her wholly singular and marvelous existence boiled down to a number—that was the jumping off point, restoring individuality to a group of people who died suddenly.”

Center: Eldon Warner-Soriano as Ricky Potts, Back Left to Right: Peyton Owen as Noel Gruber, Rylee Michelle as Constance Blackwood, Amelia Tam as Jane Doe, Alex Merkel as Ocean O’Connell Rosenberg, and Eric Amundson as Mischa Bachinski. Photography by Jennifer Heim.

And while the subject matter is dark, the theme and message aren’t. There’s so much humor—both irreverent and whacky—love, and authenticity weaved into every line and note of this show. Ride the Cyclone encourages you to live your life to the fullest, whatever your wildly individual definition of that is.

Because life isn’t about how it ends—it’s about the ride.

Ride the Cyclone is playing at the Metropolis Performing Arts Center Main Stage through October 25, 2026. Tickets can be purchased at MetropolisMetropolis or by calling the box office at 847-577-2121.

American Blues Theater, under the continued leadership of Executive Artistic Director Gwendolyn Whiteside, presents Halloween Boo Bash, its annual costumed fundraiser benefiting artists' wages during Season 41. This popular, all-ages celebration features live performances and ghost stories, trick or treating in the theater, contests, seasonal bites and brews, and more. Halloween Boo Bash will be held on Sunday, October 25, 2026, 4:00pm-7:00pm at the company's home, 5627 N. Lincoln Ave.

Tickets, priced at $35, are available now at americanbluestheater.com.

Highlights of the Halloween Boo Bash include:

Pumpkin Decorating, Costume Parade, Outdoor Games, & Prizes

4:00pm-5:00pm

Guests must provide their own pumpkins. American Blues Theater will have tables, some tools, and paint! You may bring your pumpkin already decorated to enter the contest. Prizes will be awarded for all ages. Costumes are optional. Partygoers wearing costumes will automatically be entered for prizes.

Trick or Treating in the theater, Seasonal Bites, Bevs & Brews

5:00pm-5:30pm

Trick or Treat inside American Blues Theater's home! Guests will also enjoy seasonal bites of sweet, salty, and savory snacks and specialty witches brew and drinks for all age and thirsts.

Karaoke Performances & Campfire Stories by incredible artists

5:30pm-7:00pm

American Blues ensemble and artistic affiliates perform karaoke and campfire stories with spine-chilling flair. Some karaoke spots are available for members of the public.

Email This email address is being protected from spambots. You need JavaScript enabled to view it. to request a slot. Space is limited and subject to availability.

There will be no reserved parking for this event as many of the activities and games will take place in the lot. There is free street parking on Lincoln and neighborhood streets.

To learn more about the Halloween Boo Bash or to make a donation, contact Director of Development Sarajane Johnson at (773) 654-3103 or This email address is being protected from spambots. You need JavaScript enabled to view it..

About Season 41

American Blues Theater's Season 41 opened with the world premiere of Black Girl from a White Suburb, a tour-de-force solo show by Artistic Affiliate Tania Richard, directed by J. Nicole Brooks (September 4 – October 4, 2026). The season continues with the 25^th Anniversary production of Chicago's original holiday hit It's a Wonderful Life: Live in Chicago! (November 19 – December 27, 2026); the world premiere of Ken Urban's Blue Ink Award winner The Conquered, directed by Jonathan Berry (June 11 – July 18, 2027); and the Chicago Premiere of UHURU by Gloria Majule, directed by Mikael Burke (Sept 3 – Oct 10, 2027) Tickets are available through the American Blues Theater box office, online at www.americanbluestheater.com or by calling (773) 654-3103.

Public Programming and Special Events

American Blues Theater is excited to offer audiences even more ways to engage with artists, neighbors and the larger community through its two programs The Commons and @Home Accessibility Series.

The Commons features readings, live concerts, open mics, game nights, town halls and more at American Blues. The @Home Accessibility Series features readings, live concerts, and town halls from the comfort of home via Zoom. For the most up-to-date programming schedule or to purchase tickets, visit www.americanbluestheater.com. Additional programming will be announced throughout the season.

About American Blues Theater

Winner of the prestigious National Theatre Company Award from American Theatre Wing (Tony Awards). American Blues Theater is an Ensemble of artists committed to producing new and classic diverse stories that ask the question: "What does it mean to be American?"

The diverse and multi-generational artists have established the second-oldest professional Ensemble theater in Chicago. As of 2026, the theater and artists received 265 Joseph Jefferson Awards and nominations that celebrate excellence in Chicago theater and 44 Black Theatre Alliance Awards. The artists are honored with Tony Award and Pulitzer Prize nominations, Academy Awards, Golden Globe Awards, Emmy Awards and numerous other accolades.  

Studebaker Theater, P3 Productions and Audible, in collaboration with Teatro Vista Productions, present the Chicago premiere of the groundbreaking, award-winning new hip-hop musical Mexodus, written and performed by Brian Quijada and Nygel D. Robinson, choreographed by Tony Thomas, and directed by David Mendizábal. Mexodus plays a limited three-week run at Chicago's historic Studebaker Theater at the Fine Arts Building, 410 S. Michigan Avenue, from November 7 to November 21, 2026.

Tickets for the Chicago premiere of Mexodus, November 7–21, 2026, are now on sale starting at $36, with discounted student tickets for $20, at FineArtsBuilding.com/Mexodus.

Told through live looping, bold storytelling and sick beats, Mexodus reimagines the Underground Railroad heading south to Mexico—unearthing a powerful, untold chapter of American history. Called an "electrifying theatrical experience" by The New York Times, "thrilling" by The Washington Post and "genius in motion" by the San Francisco Chronicle, this is theater you feel in your body and your bones. Created and performed by Brian Quijada and Nygel D. Robinson, this groundbreaking musical follows a freedom seeker and an unlikely ally as they forge a remarkable bond that transcends borders.

This year Mexodus won four Lucille Lortel Awards including Outstanding Musical, four Outer Critics Circle Awards including Outstanding New Off-Broadway Musical, three Drama Desk Awards including Outstanding Music, one Off Broadway Alliance Award for Best Musical, and one Drama League Award for Outstanding Production of a Musical—the first Off-Broadway musical to win the award in 30 years.

The Chicago premiere follows the musical's critically acclaimed twice-extended run at Audible's Minetta Lane Theatre in New York in 2025 and return Off-Broadway engagement at the Daryl Roth Theatre earlier this year. Mexodus is now available as an Audible Original, featuring the entire musical recorded in immersive Dolby Atmos sound design and extending its reach to millions of listeners around the world.

The Studebaker Theater engagement of Mexodus represents a homecoming for Brian Quijada and Nygel D. Robinson. Quijada is from the Chicago area, and Robinson previously called the city home. An early workshop and developmental performances of the musical were held in Chicago in 2021 and 2023.

"We couldn't be more excited to bring Mexodus to Chicago," said Brian Quijada and Nygel D. Robinson. "Not only do we both have connections to the city, but much of the development of Mexodus happened there. Chicago, pull up!"

Ben Holtzman, Sammy Lopez, and Fiona Howe Rudin of P3 Productions added, "After building such a strong community around the show in New York City, we're thrilled to now bring this bold, original musical to Chicago audiences, especially at the historic Studebaker Theater. It's an honor to continue sharing the show's joy, energy, and message of solidarity with a city that feels so deeply connected to the spirit of Mexodus."

Kate Navin, Audible Head of Creative Development for North America, said: "It has been an honor to share Mexodus with the world, through the Audible Original release and on stage in New York, where it once again took the city by storm. We can't wait to present Brian and Nygel's groundbreaking musical in Chicago, where this work was nurtured during its development. As the production reaches more cities across the United States and listeners globally through Audible, we're continuing to broaden and honor this important story for audiences both in the theater and beyond."

Fine Arts Building and Studebaker Theater Proprietor Erica Berger said, "We are beyond proud to be a Co-Producer on Mexodus, one of the most exciting new musicals in recent memory. Brian Quijada and Nygel D. Robinson are two exceptional artists with strong ties to Chicago. The Studebaker Theater has been a creative home to innovative theater artists for more than 125 years, and bringing Mexodus home to Chicago further emphasizes our commitment to that legacy." Managing Artistic Director Jacob Harvey added, "We're actively building new pathways for how commercial productions can find a home in Chicago. Mexodus is our first co-producer credit on an Off-Broadway production, but it won't be the last. This is a new era for the Studebaker, cementing us as the premier Chicago venue for developmental and acclaimed productions alike."

Artistic Director Wendy Mateo of Teatro Vista Productions said, "Teatro Vista Productions cultivates the telling of stories that accurately reflect our community and increase the authentic representations of us on stage and screen. We are extremely honored to have been a part of the world premieres of Brian's Where Did We Sit on the Bus? and Somewhere Over the Border. So this is a full circle moment for us to help bring Brian and Nygel back to Chicago and to share the story of Mexodus with our audiences."

Mexodus was developed in previous productions at New York Stage and Film (2021), Baltimore Center Stage & Mosaic Theater Company of DC (Spring 2024), and Berkeley Repertory Theatre (Fall 2024).

The creative team for Mexodus includes Riw Rakkulchon (Scenic Design), David Mendizábal (Costume Design), Mextly Couzin (Lighting Design), Mikhail Fiksel (Looping Systems Architecture and Sound Design), Johnny Moreno (Video/Projections Design), Tony Thomas (Choreographer), and Claire Yenson, C.S.A. (Casting). Hope Villanueva is the Production Stage Manager, and theatrical supervision is by Cath Bates with general management by Pemberley Productions.

TICKETS

Tickets for the Studebaker Theater performances of Mexodus are now on sale starting at $36, with discounted student tickets for $20, at FineArtsBuilding.com/Mexodus.

PERFORMANCE SCHEDULE

Saturday, November 7 at 3 p.m. and 7:30 p.m. (press opening)

Sunday, November 8 at 1:30 p.m. and 6:30 p.m.

Tuesday, November 10 at 7:30 p.m.

Wednesday, November 11 at 7:30 p.m.

Thursday, November 12 at 2 p.m. and 7:30 p.m.

Friday, November 13 at 7:30 p.m.

Saturday, November 14 at 3 p.m. and 7:30 p.m.

Sunday, November 15 at 1:30 p.m. and 6:30 p.m.

Tuesday, November 17 at 2 p.m. and 7:30 p.m.

Wednesday, November 18 at 2 p.m. and 7:30 p.m.

Thursday, November 19 at 11 a.m. (student matinee)

Friday, November 20 at 2 p.m. and 7:30 p.m.

Saturday, November 21 at 3 p.m. and 7:30 p.m.

ABOUT P3 PRODUCTIONS

P3 Productions is an award-winning producing team led by Ben Holtzman, Sammy Lopez, and Fiona Howe Rudin, dedicated to uplifting new voices and communities. Broadway productions include CALL ME IZZY, HOW TO DANCE IN OHIO, and JOB. In addition to MEXODUS, upcoming productions include WANTED, INTER ALIA, and THE NINTH WOMAN. Recent co-producing credits include EVERY BRILLIANT THING, ART, SUNSET BLVD., JUST FOR US, and A STRANGE LOOP on Broadway, as well as INTER ALIA, KINKY BOOTS, 1536, SUGAR DADDY, THE IMPORTANCE OF BEING EARNEST, NEXT TO NORMAL, and ORLANDO in London's West End. Learn more at www.p3.productions.

ABOUT AUDIBLE THEATER

Audible Theater makes outstanding performances and powerful storytelling available to live audiences in New York City and millions of people all over the world. Since founding in 2018, Audible Theater's dynamic mix of live and audio theater productions have been praised as "trailblazing" (Variety), "illuminating" (Forbes), and "an exemplary use of the medium" (The Observer).

Audible Theater productions have garnered more than 60 nominations and 14 wins across the theater awards landscape. More than 120 audio theater titles have released on Audible. Audible Theater has produced the multi-award-winning and seven-time Tony Award-nominated musical Dead Outlaw, with music and lyrics by David Yazbek and Erik Della Penna, book by Itamar Moses, conceived by David Yazbek, and directed by David Cromer; Hannah Moscovitch's play Sexual Misconduct of the Middle Classes starring Ella Beatty and Hugh Jackman; Sorry for Your Loss written by and starring Michael Cruz Kayne;  Laura Benanti: Nobody Cares written by and starring Laura Benanti; Alex Newell and the Gospel of a Diva written by and starring Alex Newell; Nostalgia: A Love Letter to NYC written by and starring Eva Noblezada; Girls & Boys starring Carey Mulligan; Harry Clarke starring Billy Crudup; and many others at Audible's Minetta Lane Theatre in New York City. Audible Theater has also produced audio adaptions of acclaimed plays including Colman Domingo's Wild with Happy starring Domingo, Oprah Winfrey, Sharon Washington, Alex Newell, and Tyler James Williams; David Henry Hwang's Yellow Face starring Daniel Dae Kim and Jason Biggs; David Auburn's Summer, 1976 starring Laura Linney and Jessica Hecht; and many more.

In May 2018, Audible announced that the Minetta Lane Theatre in Greenwich Village would serve as its creative home for live performances in New York, with Audible members receiving exclusive access to discounted tickets and related audio content. Since then, Audible has hosted and produced a wide variety of live performances at the Minetta Lane including dramatic plays, comedic shows, original musical performances, and more.

Since June 2017, Audible has commissioned 50 playwrights to receive support from its $5 million Emerging Playwrights Fund dedicated to developing innovative English-language works from around the globe. The initiative enables the creation of original plays driven by language and voice, keeping with Audible's core commitment to elevate listening experiences through powerful performances and extraordinary vocal storytelling. Emerging Playwrights commissions have included Evil Eye by Madhuri Shekar, The Half-Life of Marie Curie by Lauren Gunderson, Good Enemy by Yilong Liu, and more.

ABOUT AUDIBLE, INC.

Audible, Inc., an Amazon.com, Inc. subsidiary (NASDAQ:AMZN), is the leading creator and provider of premium audio storytelling, offering global audiences a powerful way to enhance and enrich their lives through extraordinary content. Audible's catalog includes more than 1,000,000 audio titles, including Audible Originals as well as audiobooks and podcasts from leading studios, print, audio and magazine publishers and world-renowned entertainers.

ABOUT THE STUDEBAKER THEATER

Located inside Chicago's landmarked Fine Arts Building, the Studebaker Theater is one of the city's most historic performance venues, led by Erica Berger and Jacob Harvey. Since its curtain first rose in 1898, the Studebaker stage has been graced by luminaries including Bob Hope, Peter O'Toole, Mae West, Ethel Barrymore, Geraldine Page, Vincent Price and many more. Following a major multi-million-dollar renovation led by Berger Realty Group and completed in 2022, the Studebaker 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. Other recent productions include Ava: The Secret Conversations starring Elizabeth McGovern and Manual Cinema's Christmas Carol. Learn more at fineartsbuilding.com.

ABOUT TEATRO VISTA PRODUCTIONS

When the Chicago theater world wasn't ready for us, Teatro Vista Productions made space. For 35 years, we've told true stories that reflect our community. We're not just building on this amazing legacy; we are strengthening and expanding it for the future. Today we continue to actively engage in advocacy that seeks to increase the authentic representations of us on stage and screen. Teatro Vista Productions is led by Lorena Diaz (Executive Director), Wendy Mateo (Artistic Director) Cruz Gonzalez-Cadel (Associate Artistic Director) and Carina E. Sanchez (Board President).

Teatro Vista Productions believes artists of color are inherently genius across disciplines, experiences, media and diaspora. We center our collective of artists at the heart of everything we do. We empower them to create with their own voice by providing the tools and resources they need to thrive in the industry. Our work is timely, relevant and reflects our community. Now, as always, We Are Theater With A View. Join us across online channels at @teatrovista to experience the multidisciplinary talents of our Artistic Collective and visit teatrovista.org to stay connected to all things TVP. Pa'lante Juntos. Forward Together.

At intermission, I sent Ken, Buzz Center Stage’s managing editor, a text: “So thankful I made it!! It’s intermission, and if there’s one show anyone sees it should be this.” By the time the lights came up at the end of The Attic, I couldn’t have agreed with intermission-me more.

The idea behind lifelong circus artist Shana Carroll’s autobiographical play began inside a CT scanner. Watching its bridge move in and out of sight above her, Carroll realized how much of her life could be told through the things she had seen while lying on her back. From her childhood bed to her mother’s and her child’s, from motel rooms to hospital rooms, each view from below held another piece of the story she now wanted to tell.

That story became The Attic: Things I’ve Seen While Lying on My Back, Carroll’s onstage memoir now receiving its world premiere in Goodman Theatre’s Albert Theatre. Carroll, a cofounder of Montreal circus collective The 7 Fingers, the company behind the production, also serves as its writer, director and choreographer.

The Attic perfectly walks the line between abstract and concrete storytelling. The pivotal events and overarching themes of Carroll’s life remain clear and accessible, while circus arts and contemporary dance explore the smaller details and dynamics that traditional narration could never fully capture. This is not a play with circus tricks added to it; it is a singular piece of theatre that replaces conventional blocking with a breathtaking physical language.

Tyler Meredith serves as Carroll’s onstage stand-in, carrying nearly the entire narration while moving alongside – and frequently flying among – the rest of the ensemble. Even within such a heavily collaborative production, Meredith deserves special recognition for the sheer feat of guiding the audience through Carroll’s life with such emotional depth, physical precision, and clarity, all while taking part in the circus work herself.

(Top) Anna Kichtchenko. (L-R, bottom) Melvin Diggs, FranAlvarez, Lucy Tan, Santiago Rivera Laugerud and Eduardo De Azevedo Grillo in The Attic at Goodman Theatre.

Still, The Attic cannot have only one star. Every one of its ten performers is essential to creating the world onstage. The remaining nine rarely leave the audience’s sight, and I defy you to find a moment when any of them is truly still. Rather than waiting at the edges of a scene, they continually ebb and flow with Carroll’s memories, moving like a single current that stretches across the entire stage while remaining connected at every point.

Nothing feels like a transition or choreographed scene change, even though every minute contains (no exaggeration) hundreds of precise decisions, from the subtlest shift in focus to a death-defying catch. If every movement executed by just one performer over ten minutes were written down, the resulting document would be longer than this entire review. The level of detail, polish, and commitment is staggering. Live theatre constantly reaches toward the seemingly impossible goal of appearing this intricate and effortless; The Attic achieves it.

Among an ensemble overflowing with talent, Nancy Luna is especially impossible to look away from. A fearless and mesmerizing flyer, she repeatedly launches herself – or is effortlessly launched by Fran Alvarez – into the air with a freedom that makes even the production’s most difficult feats feel instinctive.

The technical elements are equally precise. Projections, lighting and scenic movement distinguish and layer Carroll’s memories without overwhelming the physical storytelling. Even as performers soar and tumble in the background, the production carefully directs the audience’s focus, allowing the spectacle to strengthen the story rather than distract from it.

Although its explorations of illness, motherhood and mortality are geared more toward adults, The Attic offers enough acrobatics, movement and theatrical imagination to captivate nearly anyone. Carroll’s memoir is the beautiful thread connecting each mesmerizing scene, but every individual sequence is remarkable enough to stand on its own.

Plenty of shows claim to keep audiences on the edge of their seats. Shana Carroll’s The Attic earns that phrase in nearly every possible sense. The Attic: Things I’ve Seen While Lying on My Back runs at Goodman Theatre through October 4. Tickets are available at goodmantheatre.org/show/the-attic.

*Extended through October 11th

Babes With Blades Theatre Company’s (BWBTC) announced today new production dates for the final production in its 2026 season, William Shakespeare’s King Lear, directed by Alison Dornheggen and fight choreography by Jess Pennachio, the new dates are now October 22 - November 21 in Theatre 3 at Theater Wit, 1229 W. Belmont. The running time, including intermission, is approximately two hours and 20 minutes. Preview performances are Thursday, Oct. 22 and Friday, Oct. 23 at 8 p.m. The performance schedule is Thursdays – Saturdays at 7:30 p.m. and Sundays at 3 p.m. The open caption performances are Saturday, Nov. 7 at 7:30 p.m. and Sunday, Nov. 8 at 3 p.m. and Thursday, Nov. 12 and Friday, Nov. 13 at 7:30 p.m. The sensory friendly performance is Sunday, Oct. 25 at 3 p.m. with the fully masked audience performance, Sunday, Nov. 1 at 3 p.m. There is no performance on Saturday, Oct. 31. Streaming dates for King Lear will be announced at a future date. Tickets are $28 for students and seniors, $37 for general admission and are on sale at the Theater Wit Box Office, 773-975-8150, or at BabesWithBlades.org. 

King Lear tells the complicated story of a king who divides his kingdom into thirds for his three daughters and the unforeseen struggles from this decision’s aftermath. His unraveling is parallelled by the nefarious journey of a jealous Edmund, who seeks to overtake his nobleman father’s affairs from his half brother. 

“I am thrilled that Babes are sinking their teeth into one of Shakespere’s most complex tragedies," said Artistic Director Hayley Rice. “A quote from King Lear is  “‘Tis the time’s plague when madmen lead the blind,” demonstrating, like so much of Shakespeare’s work, these themes are still painfully relevant today including greed, lust for power, the shortsightedness of our leaders and familial strife. We look forward to welcoming audiences to the final production in our 2026 season with this famous tragedy.”

With storefront theater veteran Lynne Baker (she/her) in the titular role of King Lear, the cast also includes Babes With Blades Theatre Company Ensemble MembersKim Fukawa (she/her, Oswald/Duke of Burgundy, Edgar U/S);Carrie Hardin (she/her, King Lear U/S); Jillian Leff(she/her, Duke of Cornwall); Morgan Manasa (she/her, Earl of Gloucester);Jennifer L. Mickelson (she/her, Duke of Albany/ensemble);Jennifer Mohr (she/her, Cordelia/Fool);Thomas Russell (he/they, Edmund) andKathrynne Wolf (she/her, Earl of Kent). They are joined by, in alphabetical order, Kim Boler (she/her, Goneril); Sarah Cushman (she/her, Goneril/Duke of Albany/ensemble U/S); Dani De la Rosa (she/her; ensemble/Edmund and Duke of Cornwall U/S); Stephanie Mattos (she/her, Edgar); Sophia Lanza-Weil (she/her, Earl of Gloucester/ensemble U/S); Madeline Meyer (she/her; ensemble/Oswald and Kent U/S); Rachel Sleek Bañuelos (she/her, Regan); and Brittani Yawn (she/her, ensemble/Cordelia and Fool U/S).

The production team includes BWBTC ensemble members Line Bower (they/them, technical director); Alison Dornheggen (she/her, director); Hayley Rice (she/her, text coach); Payton Shearn (she/they, production assistant) and Laura J. Wiley (she/her, lighting designer) as well as Adri Andreolas (she/her, assistant stage manager); Jessie Gowens (she/her, costume designer); Hannah Foerschler (she/her, sound designer); Tristan Hall (they/them, intimacy designer); Rose Hamill (she/her, production manager); Morgan Lazlo (they/them, scenic designer); Arielle Leverett (she/her, assistant director); Ryan Liddell (he/him, assistant fight choreographer); Elena Lindeman (they/she, props designer); Grace Elizabeth Mealey (she/her, stage manager) and Jess Pennachio (she/her, fight director).

ABOUT ALISON DORNHEGGEN, DIRECTOR

Alison Dornheggen has been working in the Chicagoland area as a director, actor, fight choreographer and administrator for more than 20 years. She received her degree in directing and acting from Columbia College Chicago and has been lucky to work with companies such as Chicago Shakespeare Theater, Idle Muse Theatre, Mercury Theater, A Red Orchid Theatre, Remy Bumppo Theatre Company, Oak Park Festival Theatre and The Factory Theater among others. She earned her MA in arts management, serving as the Theatre Graduate Fellow at American University in Washington DC and was privileged to work with the Washington Stage Guild, Ford's Theater, the Kennedy Center and award winning composer Peter Lerman. Dornheggen is also part of the theater department faculty at the Chicago Academy for the Arts and has been a proud ensemble member of BWBTC since 2003. 

ABOUT JESS PENNACHIO, FIGHT CHOREOGRAPHER

Jess Pennachio has a B.A in theatre performance from UNC Charlotte and completed the Actor’s Gymnasium Professional Circus Training Program focusing in partner acrobatics and juggling. She is a trained stunt performer and an advanced actor combatant with the SAFD. She has assisted stage combat classes throughout Chicago and across the country. She has worked with Babes With Blades, The Factory Theater, Collaboraction, Rough House, Chicago Danztheatre Ensemble and the Carolina Renaissance Festival. She is a fight choreographer for stage and screen as well as a makeup artist.

ABOUT BABES WITH BLADES THEATRE COMPANY

Babes With Blades Theatre Company, for more than 25 years and moving into the future, strives to develop and present scripts focused on complex, dynamic (often combative) characters who continue to be underrepresented on theatre stages based on gender. Babes With Blades Theatre Company uses stage combat to tell stories that elevate the voices of underrepresented communities and dismantle the patriarchy.

In each element of its programming, BWBTC embraces two key concepts:

1)     Folks of marginalized genders and underrepresented communities are central to the story, driving the action rather than responding or submitting to it and

2)     Everyone is capable of a full emotional and physical range, up to and including violence and its consequences.

The company offers participants and patrons alike an unparalleled opportunity to experience every person as heroes and villains; rescuers and rescues; right, wrong and everywhere in between: exciting, vivid, dynamic PEOPLE. It’s as simple and as subversive as that.

LAND ACKNOWLEDGEMENT STATEMENT:

Babes With Blades Theatre Company produces theatre in venues located on the traditional homelands of the Council of the Three Fires: the Ojibwe, Odawa and Potawatomi Nations. Many other tribes such as the Miami, Ho-Chunk, Menominee, Sac and Fox also called this area home. This region that we now commonly refer to as “The Chicagoland Area”, has long been a center for Indigenous people to gather, trade and maintain kinship ties. Today, one of the largest urban Native American communities in the United States resides in Chicago. Members of this community continue to contribute to the life of this city and to celebrate their heritage, practice traditions and care for the land and waterways.

Babes With Blades Theatre Company’s (BWBTC) announced today new production dates for the final production in its 2026 season, William Shakespeare’s King Lear, directed by Alison Dornheggen and fight choreography by Jess Pennachio, the new dates are now October 22 - November 21 in Theatre 3 at Theater Wit, 1229 W. Belmont. The running time, including intermission, is approximately two hours and 20 minutes. Preview performances are Thursday, Oct. 22 and Friday, Oct. 23 at 8 p.m. The performance schedule is Thursdays – Saturdays at 7:30 p.m. and Sundays at 3 p.m. The open caption performances are Saturday, Nov. 7 at 7:30 p.m. and Sunday, Nov. 8 at 3 p.m. and Thursday, Nov. 12 and Friday, Nov. 13 at 7:30 p.m. The sensory friendly performance is Sunday, Oct. 25 at 3 p.m. with the fully masked audience performance, Sunday, Nov. 1 at 3 p.m. There is no performance on Saturday, Oct. 31. Streaming dates for King Lear will be announced at a future date. Tickets are $28 for students and seniors, $37 for general admission and are on sale at the Theater Wit Box Office, 773-975-8150, or at BabesWithBlades.org.