The timeless magic of Arnold Lobel’s beloved children’s book series comes to life in the Marriott Theatre’s delightful production of A Year with Frog and Toad. With book and lyrics by Willie Reale and a score by Robert Reale, this whimsical musical adaptation perfectly captures the endearing spirit that resonates with children young and young-at-heart.

Directed by Elizabeth Romero, the production finds its heart in the friendship between the jovial Frog and the temperamental Toad. Told through a series of lighthearted vignettes, the duo navigates an embarrassing swimsuit mishap, a baking conundrum, a spooky story, and a bumpy sled ride. Despite these ups and downs, the amphibians hold fast to one another, offering a poignant lesson that kindness is the foundation of a lasting relationship. 

Callan Roberts is a standout as Frog, serving as the production's steady, joyful anchor. Roberts possesses a fantastic physicality that imbues the character with a fun-loving nature that elevates the role beyond the page. His clever use of inflection and vocal intonation brings the humor to life; with his expressive range and infectious energy, one could easily imagine him as an excellent Willy Wonka. 

Opposite him, Karl Hamilton offers a fascinating interpretation of Toad. Rather than leaning into a one-note “grumpy” persona, Hamilton makes the creative choice to play Toad with a sensitive, child-like disposition. He portrays the character as someone easily overwhelmed by confusion or sudden emotional disruption, which adds depth to their dynamic.

The ensemble cast deserves immense credit for their versatility, seamlessly juggling multiple roles. Their high-energy performances effectively propel the story through the changing seasons, keeping the audience engaged from start to finish.

The vibrant stage design is equally playful, featuring giant flowers, leaves, and bubbles. 

The cast portrays various forest animals with costumes that lean into abstraction, transforming bird wings into shawls and turtle shells into backpacks. While these conceptual choices are creative, they occasionally feel slightly underdone. Characters like the mouse and the birds would have benefited from a few additional flourishes to fully accentuate the ensemble’s flair.

For parents bringing their children, this production does an excellent job of being accessible for children. The story provides a gentle exploration of emotions—such as anger, sadness, and loneliness - offering a format for children to see how characters process and overcome negative experiences. The narrative encourages community and kindness, demonstrating the power of working together.

In many ways, Frog assumes a protective, almost parental role toward Toad, calming him during tense circumstances and actively seeking opportunities to encourage him—a touching lesson that young audience members are sure to notice.

The production also features a post-show question-and-answer session. This is a wonderful addition, allowing children to engage directly with the cast and learn about the behind-the-scenes nature of theater, from the mechanics of props to the process of putting a musical together. 

Ultimately, A Year with Frog and Toad is a heartwarming reminder of the value of friendship, making it a perfect outing for families. Kids of all ages are sure to enjoy the wholesome entertainment and take away valuable lessons.

https://www.marriotttheatre.com/

A bold story about the controversial creation that reshaped women’s lives is the focus of The Birth of the Pill, a world premiere play launching TimeLine Theatre’s 30th Anniversary season in September. 

The Birth of the Pill —by playwright Jessica Huang, based on the book by Pulitzer Prize-winning Chicago author Jonathan Eig (King: A Life), directed by Sandra Marquez—is an eye-opening story about science, power, and the women who paid the price for progress. Commissioned and developed by TimeLine Theatre, this highly anticipated world premiere is the opening production of the company’s inaugural, four-show season at its new home in Chicago’s Uptown community.

Previews of The Birth of the Pill start September 2. Performances run through October 4 at TimeLine Theatre, 5035 N. Broadway (at Argyle) in Uptown. Single tickets go on sale July 21. For tickets and information, call the TimeLine Box Office at (773) 281-8463 x1 or visit timelinetheatre.com.

TimeLine looks forward to bringing this chapter of global history to its stage and is ready to probe the play’s urgent questions about consent, sacrifice, and the complicated cost of social change. The Birth of the Pill begins in the mid‑20th century as a radical dream begins to take shape: a simple pill that would give women full control over their reproductive futures. Championing this groundbreaking idea are feminist activist Margaret Sanger, scientist Gregory Pincus, gynecologist John Rock, and philanthropist Katharine McCormick—visionaries working under intense secrecy amid legal, scientific, and religious roadblocks. Meanwhile, in Puerto Rico, clinical trials place the burden of experimentation on women like Ramona Delgado, whose lives and bodies become entangled in the quest for scientific advancement.

Audiences will be hard-pressed to recall another play that interacts with its source material quite like The Birth of the Pill. Huang calls it “a play in conversation with the book by Jonathan Eig,” offering a fresh, critical look at how the book holds up 14 years after publication, after the overturning of Roe v. Wade in 2022, and amidst the current cultural and political climate of the United States.

“I’m excited almost beyond words to see The Birth of the Pill on stage,” said Eig. “Jessica Huang’s play is a whole new thing—not so much an adaptation as a reinvention. I feel like the book had a baby, and the child is more brilliant and beautiful than I ever could have dreamed. I can’t wait for everyone to see it.”

Published in 2014 by W. W. Norton, Eig’s book The Birth of the Pill was hailed as “one giant leap for womenkind” by The Guardian and named a “Best Book of 2014” by the Chicago Tribune. Eig’s subsequent biography of Martin Luther King Jr., King: A Life, won the 2024 Pulitzer Prize for biography. His biography of Muhammad Ali, Ali: A Life, won the PEN/ESPN Award and inspired a documentary by Ken Burns, for which Eig served as consulting producer. Other literary works include Get Capone, Opening Day, and The Luckiest Man. Eig (jonathaneig.com) confirms this is his first involvement in theatre since he played trumpet in the pit orchestra for Brigadoon at Spring Valley High School. He and his wife, Jennifer Tescher, are longtime TimeLine Theatre subscribers.

“Befitting TimeLine’s mission, The Birth of the Pill is a story that transcends time—exploring the quest to invent the birth control pill, the struggles, controversies, and harm caused by its creation and clinical trials, and all the history that continues to unfold since. We can’t wait to bring this play to Uptown to launch the inaugural season in our new home,” said TimeLine Theatre Artistic Director PJ Powers.

“We’ve been great admirers and friends of Jonathan Eig for many years, and I began talking with him more than a decade ago about adapting one of his many tremendous books into a play,” Powers added. “The Birth of the Pill quickly became that passion project for TimeLine, among his lauded body of work, and we were thrilled to commission Jessica Huang, a playwright whose skill, craft, and unique voice had already captured our great interest. The pairing of Jessica and Jon—and the invaluable leadership of director Sandra Marquez—has been one of the most inspiring collaborations I’ve witnessed in TimeLine’s 30 years. Jon has been a generous contributor, sharing his depth of research, while also being an enthusiastic cheerleader for Jessica to create a piece of theatre in her own voice, and for this moment, distinct from when and how the book was first written.”

“The play is an adaptation, but also an addition to Jon’s book,” agreed Huang. “For me, the story of the Puerto Rican women who were coerced to participate in clinical trials is not only a crucial piece of our history, it is actually the center of this story. So while the play is a faithful adaptation, it is also a retelling that challenges his book, adds to his book, and collaborates with it. Sort of like my friendship with Jon, which became a part of the play as well.”

The commission and development of The Birth of the Pill was supported in part by the Joseph and Bessie Feinberg Foundation.

PERFORMANCE SCHEDULE

Previews of The Birth of the Pill are Wednesday, September 2; Thursday, September 3; and Friday, September 4 at 7:30 p.m.; Saturday, September 5 at 2 p.m. and 7:30 p.m., Sunday, September 6 at 2 p.m.; and Tuesday, September 8; and Wednesday, September 9 at 7:30 p.m. Opening Night is Thursday, September 10 at 7:30 p.m. Regular performances continue through October 4: Wednesday, Thursday, and Friday at 7:30 p.m.; Saturday at 2 p.m. and 7:30 p.m.; and Sunday at 2 p.m. Exception: No 7:30 p.m. on Saturday, September 12.

BUYING TICKETS

Single tickets to The Birth of the Pill, priced $40–$100, go on sale July 21. For tickets and information, visit timelinetheatre.com or call the TimeLine Box Office at (773) 281-8463 x1. 

Preview tickets are $40 - $63. Single tickets to regular performances are $65 - $100. Prices vary based on performance date and seat location. 

Pay What You Will pricing is available for these previews: Thursday, September 3 at 7:30 p.m.; Friday, September 4 at 7:30 p.m.; and Saturday, September 5 at 7:30 p.m. Student discount to all performances is 35% off regular price with valid ID. TimeLine is also a member of TCG’s Blue Star Theatre Program and is offering $30 tickets to U.S. military personnel, veterans, first responders, and their spouses and family. 

All listed prices are inclusive of fees.

Ticket buyers ages 18-35 may join TimeLine’s free MyLine program to obtain access to discounted tickets, special events and more. Discounted rates for groups of 10 or more are also available. Visit timelinetheatre.com/discounts for more about available discounts.

LOCATION/PARKING/TRANSPORTATION

TimeLine’s new home is located at 5035 N. Broadway (at Argyle) in the heart of Chicago’s Uptown community.

TimeLine Theatre is easily reached via public transportation, located steps away from the CTA Red Line stop at Argyle. The #36 Broadway bus stops at Broadway and Argyle, the #151 Sheridan stops three blocks east at Argyle, and the #81 Foster stops at Broadway and Foster, just two blocks north.

Convenient parking is a new hallmark for TimeLine Theatre. The self-park garage at 5051 N. Broadway, two doors north of the theatre, offers up to 6 hours of parking for $10, with validation. Ask for a validation sticker from TimeLine’s Audience Services staff. The self-park surface lot at 5017 N. Winthrop in the heart of Asia on Argyle also offers discounted parking for up to 6 hours for just $7 via an app and QR code.

Nearby street and metered parking is available but limited. Please note some streets are zoned for resident parking only. Visit timelinetheatre.com/venues/timeline-theatre for additional information, including driving directions and nearby dining recommendations.

DISCUSSIONS

Pre-Show Discussions: Starting one hour before the performance, a 30-minute introductory conversation will be hosted by a TimeLine Company Member and the dramaturg on Wednesday, September 16.

Post-Show Discussions: A brief, informal post-show discussion hosted by a TimeLine Company Member and featuring the dramaturg and members of the production team on Thursday, September 17; Sunday, September 27; and Thursday, October 1.

Company Member Discussion: A post-show discussion with the team of artists who choose TimeLine’s programming and guide the company’s mission on Sunday, September 13.

Sunday Scholars Panel Discussion: A one-hour panel discussion featuring experts on the themes and issues of the play in a moderated discussion, following the performance on Sunday, September 20.

All discussions are free and open to the public. 

ACCESSIBILITY

Captioned Performances: Open-captioned performances with a text display of words and sounds heard during performances are Friday, September 25 at 7:30 p.m. and Saturday, September 26 at 2 p.m.

Performances featuring audio description and ASL interpretation are to be announced.

TIMELINE’S INAUGURAL 2026-27 SEASON AT ITS NEW HOME IN UPTOWN

Following The Birth of the Pill, TimeLine Theatre’s 30th Anniversary, four-show season continues with:

• The Chicago premiere of the Olivier Award-winning Home, I’m Darling by Laura Wade, directed by TimeLine Company Member Mechelle Moe—a sharp, dark comedy examining nostalgia, marriage, and the seductive fantasy of a “simpler” past (November - December 2026).

• The Chicago premiere of The Far Country by Lloyd Suh, directed by TimeLine Company Member Helen Young—a sweeping immigration epic and 2023 Pulitzer Prize finalist exploring identity, sacrifice, and generational resilience in the shadow of exclusionary U.S. policy (February - March 2027).

• Merrily We Roll Along, music and lyrics by Stephen Sondheim, book by George Furth, based on the original play by George S. Kaufman and Moss Hart, directed by TimeLine Associate Artistic Director Nick Bowling with music direction by Otto Vogel—a Tony Award–winning musical unfolding in reverse, tracing the shifting relationships and ambitions of three friends over two decades (April - May 2027)

See it for yourself … from the best seats in the house! Save up to 25% off regular ticket prices and enjoy ultimate flexibility, priority access, and preferred reserved seating with a TimeLine FlexPass. Four options, priced from $189 to $389, are now on sale. MyLine FlexPasses (exclusively for patrons age 18-35) are also available for $85 (after enrolling in TimeLine’s free MyLine program). For more information and to purchase, call (773) 281-8463 x1 or visit timelinetheatre.com.

IT’S TIME: ABOUT TIMELINE’S NEW HOME

In 1997, six graduates of The Theatre School at DePaul University each pitched in $50 to launch a new theatre company focused on plays inspired by history that connect to today’s social and political issues. Over 30 years, largely operating out of a modest, 99-seat black box theater in a Lakeview East church, TimeLine grew to be a vital force in Chicago’s arts scene.

Building on this legacy, after nearly eight years of preparation including approximately 18 months of construction, TimeLine Theatre successfully repurposed a 1910s Reebie and Brother warehouse in Chicago’s Uptown community into a vibrant new cultural destination and the city’s newest live theater space.

TimeLine Theatre’s new home spans five stories and 33,600 square feet, combining 21,000 square feet of new construction with 12,600 square feet of adaptive reuse of portions of the former warehouse. Today, 5035 N. Broadway is home to a new, flexible, intimate 250-seat black box theatre that can be re-imagined for every show; exhibit galleries that enhance the production experience; dedicated space for Living History students, education programming, and community gathering; expanded social spaces, including a bar and café with patio; a spacious and visible rehearsal room that invites a view of the art as it’s being made; and office and production space for TimeLine’s growing staff.

TimeLine’s sleek facade brings new visual excitement to the Broadway streetscape with a 40-foot vertical blade marquee inspired by historic marquees in the neighborhood, including the Uptown Theatre and Aragon Ballroom. A green storefront canopy nods to nearby Uptown landmarks including Sun Wah BBQ and the Green Mill. A prominent glass curtain wall completes the Broadway facade, providing dramatic views into interior spaces that highlight the cultural activity inside.

Since launching It’s Time: The Campaign for TimeLine’s New Home, TimeLine has successfully raised more than $43 million toward the approximately $46 million project cost, including $12.9 million in public support ($2.9 million from the State of Illinois, $10 million from the City of Chicago), and funds from more than 200 generous individual donors. 

ABOUT TIMELINE THEATRE COMPANY

TimeLine Theatre Company, recipient of the 2016 MacArthur Award for Creative and Effective Institutions, was founded in 1997 with a mission to present stories inspired by history that connect to today’s social and political issues.

Now celebrating its 30th Anniversary Season, TimeLine has presented 98 productions, including 16 world premieres and 44 Chicago premieres, and launched the Living History Education Program, which brings the company's mission to life for students in Chicago Public Schools. Recipient of the Alford-Axelson Award for Nonprofit Managerial Excellence and the Richard Goodman Strategic Planning Award from the Association for Strategic Planning, TimeLine has received 64 Jeff Awards, including an award for Outstanding Production 11 times.

TimeLine is led by Artistic Director PJ Powers, Executive Director Mica Cole, and Board President Anne Voshel. TimeLine Company members are Will Allan, Nick Bowling, Janet Ulrich Brooks, Behzad Dabu, Charles Andrew Gardner, Lara Goetsch, Juliet Hart, Anish Jethmalani, Mildred Marie Langford, Mechelle Moe, David Parkes, Ron OJ Parson, PJ Powers, Maren Robinson, and Helen Young.

Major corporate, government and foundation donors providing season support via TimeLine’s Annual Fund include Abe and Ida Cooper Foundation, Bayless Family Foundation, Crown Family Philanthropies, HGA, John D. and Catherine T. MacArthur Foundation, Joseph & Bessie Feinberg Foundation, Laughing Acres Family Foundation, Lloyd A. Fry Foundation, Paul M. Angell Family Foundation, Polk Bros. Foundation, The Service Club of Chicago, The Shubert Foundation, Van Dam Charitable Foundation, and Walder Foundation. Major supporters of TimeLine’s Sustainability Fund include The Madge Goldman Foundation, The Passionflower Foundation, The Pritzker Traubert Foundation, and Anonymous. TimeLine also acknowledges support from the Illinois Arts Council Agency and the Illinois Department of Commerce and Economic Opportunity.

For more information, visit timelinetheatre.com, or Facebook or Instagram (@TimeLineTheatre on both platforms).

Over the course of one night, through a haze of tequila, texting, and Taylor Swift, three teenagers banter, bicker, and push each other to the edge of danger — with consequences that could prove lethal. 

Theater Wit presents the Chicago premiere of Adolescent Salvation, L.A. playwright Tim Venable’s audacious new play that dares to portray adolescence in all its abundance of contradictions: sloppy, raw, and deeply human. Performances are August 14-October 3.

Adolescent Salvation begins light and funny, then shifts into something far darker, its tonal shifts as natural as the mood swings of youth. Critically acclaimed in its L.A. world premiere in 2025, Stage and Cinema wrote Adolescent Salvation "lurches, it burns, it contradicts itself — alive in ways most new plays are not." StageScene LA called it “one humdinger of a stunner.”

Adolescent Salvation marks the Chicago debut for playwright Tim Venable. Originally from Iowa, and a graduate of Illinois State University, he is an L.A. writer/ director/actor/producer. His other plays include Baby Foot, The Beautiful People, Blue Roses and Crystal Gayle is a Beautiful Lady. 

Guillermo Cienfuegos (the directing pseudonym of L.A. actor Alex Fernandez) staged the world premiere of Adolescent Salvation at Rogue Machine Theatre, where he is Artistic Director, in November 2025. Under both names, he has had an extensive 30-year career as a director and actor in theater, television, feature films and voice over. Cienfuegos returns to helm this second staging of Adolescent Salvation.

Theater Wit’s cast features Brandon Joseph Acosta as Taylor (M), Piper Jean Bailey as Natasha, Jordan Levene as Taylor (F) and Maura Kidwell as Victoria.  Designers include Jonathan Berg-Einhorn (set), Josephine Everett (costumes), Ellie Fey (lights), AnnaMae Durham (props), Daniella Brown (sound) and Sarah Scanlon (intimacy).  Drew Donnelly is production stage manager. Matthew R. Chase is production manager.

Adolescent Salvation is another Theater Wit production sure to spark conversation and linger long after the curtain. Previews are August 14-23: Thursday, Friday and Saturday at 7 p.m.; Sunday at 2 p.m. Press opening is Monday, August 24 at 7 p.m. Performances run through October 3: Thursday, Friday and Saturday at 7 p.m.; Sunday at 2 p.m. Exception: No show Thursday, August 27. Tickets are $18-$46. Run time is ninety minutes, no intermission. Purchase tickets at theaterwit.org, by calling (773) 975-8150, or in person at the Theater Wit box office. Be advised: Adolescent Salvation contains material that might be challenging for some viewers. For more, look for a link to spoilers on the show web page.

Theater Wit is located at 1229 W. Belmont Ave., in the Belmont Theatre District in Chicago’s Lakeview neighborhood. Convenient parking is available for $10 across the street from the theater in the lot behind Kubo restaurant (pay at the Theater Wit box office.) Neighborhood street parking is available, as are private paid lots (tip: book ahead and at a discount with SpotHero). Theater Wit is also accessible via the CTA 77 Belmont bus, and is three blocks west of the CTA Belmont Red/Brown/Purple line stop. To learn more, visit theaterwit.org or follow the company on Facebook or Instagram. 

Following Adolescent Salvation, Theater Wit’s four-play, 2026-27 season continues with the return of its holiday season smash hit Who’s Holiday!, and the Chicago premieres of Dead Outlaw, book by frequent Wit collaborator Itamar Moses, in a co-production with Porchlight Music Theatre, and Joshua Harmon’s latest work, We Had a World. Purchase tickets at theaterwit.org, call (773) 975-8150, or purchase in person at the Theater Wit box office. 

Better yet, a great way to support Chicago’s storefront theater scene is to purchase a Theater Wit Membership. The monthly fee is just $35, often less than the price of a single ticket, $25 for students and $62 for a dual membership. For that, members see as many shows as they want on the company’s three stages – Theater Wit productions, resident, and visiting companies – year round. Sign up at theaterwit.org/boxoffice/membership.

In addition to Adolescent Salvation, visiting companies opening shows soon at Theater Wit include Nova Entertainment’s Hail Mary/Maria, August 14-22; Black Cat Theatre’s Elephant in the Room, August 28-September 13; and Water People Theatre’s Muses, September 1- 27.

About Theater Wit, Chicago’s “Smart Art” theater

As a production company, Theater Wit is the premier smart art theater in Chicago, producing humorous, challenging, and intelligent plays that speak with a vibrant and contemporary theatrical voice. As an institution, Theater Wit seeks to be the hub of the Chicago neighborhood theater scene. Led by Artistic Director Jeremy Wechsler, Wit brings together Chicago’s best storefront theater companies in its three, 99-seat spaces, where audiences find a smorgasbord of excellent productions, see the work of a parade of talented artists, and mingle with audiences from all over Chicago.

In Fall 2025, Theater Wit received a three-year, $600,000 grant from the Paul M. Angell Foundation in support of Theater Wit’s Shared Spaces program, which empowers the artistic work of independent itinerant theater producers through subsidized, affordable space rentals and tailored production, accessibility and administrative support.

To learn more, visit theaterwit.org or follow the company on Facebook or Instagram.

Oil Lamp Theater, currently at 1723 Glenview Road, announces its new future home will be at the former Ten Ninety Brewing Co. in Downtown Glenview, 1025 Waukegan Road. The opportunity to move to a larger performance space, that is adjacent to Oil Lamp Academy, became possible due to the founder of the Negaunee Foundation, client of Virginia Trux, who purchased the property as a personal project and looks forward to years of joy with Oil Lamp Theater. This new location pursues the goals of the “Light the Way” fundraising campaign that was announced in September of last year. The campaign included a 2028 opening of the new venue, a $5 Million fundraising goal, the expansion of its arts education, strengthening essential staff and establishing a larger performance venue with the goal of remaining in downtown Glenview. For more information or to support the campaign go to OilLampTheater.org/Light-the-Way or reach out to Oil Lamp at This email address is being protected from spambots. You need JavaScript enabled to view it..

At approximately 11,000 square feet, this new home will feature a warm and welcoming lobby, a flexible theater with seating for up to 150+ guests and thoughtfully designed spaces by Future Firm that will serve Oil Lamp’s artists, students and community. 

MORE FROM OIL LAMP THEATER:

I Love You Because

August 14 – September 13, 2026

Book and Lyrics by Ryan Cunningham

Music by Joshua Salzman

Directed by Scott Shallenbarger

Music Directed by Aaron Kahn

Preview Performances: Friday, Aug. 14 at 7:30 p.m. and Saturday Aug. 15 at 3 p.m .

Opening Night: Saturday, Aug. 15 at 7:30 p.m. 

Performance schedule: Thursdays and Fridays at 7:30 p.m.; Saturdays at 3 p.m. and 7:30 p.m. and Sundays at 3 p.m. with additional Wednesday performances Wednesday Aug. 19 at 11 a.m. and 3 p.m.; Wednesday, Aug. 26 at 7:30 p.m.; Wednesday September 2 at 11 a.m. and 3 p.m.; and Wednesday September 9 at 7:30 p.m.

Modern dating is a mess. Sometimes to find Mr. Right you need to find Mr. Wrong even if that means seeing someone stuck on their ex, awkward encounters of the intimate kind and lots of horrible coffee dates. Opposites attract in this feel-good musical that will transport audiences into the heart of your favorite guilty pleasure rom-com. Created by acclaimed musical team Ryan Cunningham and Joshua Salzman and inspired by Jane Austen’s gold-standard romance novel “Pride and Prejudice,” this delightful musical will make you fall head over heels. 

Dial M for Murder

October 2 – November 1, 2026

Adapted by Jeffrey Hatcher from the original play by Frederick Knott

Directed by Daniel King

Preview Performances: Friday, Oct. 2 at 7:30 p.m. and Saturday, Oct. 3 at 3 p.m. 

Opening Night: Saturday, Oct. 3 at 7:30 p.m. 

Performance schedule: Thursdays and Fridays at 7:30 p.m.; Saturdays at 3 p.m. and 7:30 p.m. and Sundays at 3 p.m. with additional Wednesday performances Wednesday, Oct. 7 at 11 a.m. and 3 p.m.; Wednesday Oct. 14 at 7:30 p.m. (Understudy Performance); Wednesday Oct. 21 at 11:00 a.m. and 3 p.m. and Wednesday, Oct. 28 at 7:30 p.m.

Alfred Hitchcock’s adored, chilling thriller gets a modern twist that no one will see coming. A murderous misstep begins a high-stakes hunt for the real criminal as time is quickly running out. This captivating, heart-racing play leaves audiences on the edge of their seats while the mystery of the year unravels before their eyes. Will the clues unlock the right person, or will an innocent victim pay the price? The suspense is to die for…

It’s A Wonderful Life: A Live Radio Play

November 20 - December 27, 2026

Adapted by Joe Landry

Directed by Becca Holloway

Preview Performances: Friday, Nov. 20 at 7:30 p.m. and Saturday, Nov. 21 at 3 p.m. 

Opening Night: Saturday, Nov. 21 at 7:30 p.m. 

Performance schedule: Thursdays and Fridays at 7:30 p.m.; Saturdays at 3 p.m. and 7:30 p.m. and Sundays at 3 p.m. with additional Wednesday performances Wednesday, Dec. 2 at 11 a.m. and 3 p.m.; Wednesday Dec. 9 at 7:30 p.m. (Understudy Performance); Wednesday Dec. 16 at 11:00 a.m. and 3 p.m. and Wednesday, Dec. 23 at 7:30 p.m.

The holiday tradition returns for its 13th year. Audiences may experience unmatched holiday cheer with Frank Capra's beloved classic, “It's a Wonderful Life,” reimagined as a captivating live radio play, complete with foley sound effects and set in our own WBFR radio studio.

Journey to Bedford Falls, where George Bailey's troubles lead him to wish he was never born. Clarence, an angel sent to intervene, steps in to make his wishes come true and George quickly learns just how many lives he has touched and just how blessed he really is.

*All productions, dates, creatives, etc. are subject to change.

ABOUT OIL LAMP THEATER

Oil Lamp Theater is a professional nonprofit performing arts organization in Glenview, Illinois, welcoming over 10,000 patrons annually from more than 225 communities—41% from Glenview and others from across the North Shore and Chicago. Since establishing its intimate 60-seat home in downtown Glenview in 2012, Oil Lamp has grown into a cultural beacon, earning recognition as “Best Live Theatre in the North Shore” for four consecutive years.

With more than 70 productions to date, Oil Lamp is known for its dynamic Mainstage season, special events and its resilience during the pandemic, when it innovated with drive-in performances and outdoor productions. Today, the theatre continues to foster connection, broaden horizons and illuminate the human condition through professional theater and year-round programming.

In addition to its productions, Oil Lamp Theater operates Oil Lamp Academy, its education branch dedicated to “Training for Life Through the Performing Arts.” In 2025 alone, the program served more than 230 students ages three to 97 years old, offering classes that use theater as a pathway to build confidence, creativity and lifelong skills.

Oscar Wilde’s The Importance of Being Earnest is one of the greatest farces ever written. His wordplay caricatured high society, and clever pay-offs are hilarious when executed properly. The play was first performed on February 14, 1895 (Valentine's Day). The premiere took place at the historic St James's Theatre in London. Wilde famously subtitled the work “A Trivial Comedy for Serious People,” a reminder that its brilliance lies in treating absurdity with absolute sincerity. Unfortunately, No Dogs in the Kitchen Theatre Company’s recent production, directed by Genevieve Corkery, misses the mark when bringing this beloved play to the stage.

For those unfamiliar, the classic comedy follows two high-society bachelors, Jack Worthing and Algernon Moncrieff, who invent secret personas to escape the boredom of everyday life. Trouble arises, however, when Jack (going by the name of “Ernest”) proposes to Gwendolen, who is intent on only marrying a man with that specific name. Matters are complicated further when the carefree, mischievous Algernon also dons the moniker “Ernest” to woo Jack’s ward, Cecily, who shares the exact same romantic obsession with the name. To find happiness, the lovers must quickly untangle a web of ridiculous misunderstandings and mistaken identities. The true brilliance of Wilde’s script lies in its wordplay and sharp societal satire, taking the audience on a wild, hysterical ride where the utterly absurd is treated with the utmost importance.

Founded in 2023, No Dogs in the Kitchen is still a young company, and a certain learning curve is both natural and expected as they continue shaping their artistic identity. Their past work has already shown a clear interest in bold, unconventional staging, often embracing heightened physicality and playful absurdism. That adventurous spirit is a defining part of their aesthetic, and it’s evident the ensemble values experimentation and a willingness to push familiar texts in unexpected directions. While this production didn’t always find harmony between those impulses and Wilde’s finely tuned verbal wit, the company’s enthusiasm, imaginative framework, growing technical confidence, and emerging vision suggest they have the tools to grow into a distinctive and compelling presence within Chicago’s storefront theatre scene.

The cast of No Dogs in the Kitchen’s “The Importance of Being Earnest” at Facility Theatre.Photo: Alex Albrecht

That said, where this production struggles is in its apparent distrust of the script, adding jumbled and superfluous elements that only serve to undercut the humor it tries so hard to generate. It is as if the creative team didn't believe the script was funny enough on its own, choosing instead to pile on unnecessary subtext that needlessly deviated from - and was unsupported by - Wilde’s text.

This staging regularly undermines its own comedic timing with added, cartoonish sound effects that reduce wit to silly gags. From boinging springs to breaking plates, it felt as if someone was trying to use every button on a soundboard. Furthermore, a heavy hand of physical humor frequently distracts from the brilliant dialogue. During several monologues, cast members distracted the audience with routines like fighting on a sofa. Another oddity occurred in the final act when multiple cast members broke the fourth wall to deliver lines - a trick they hadn't used up until that point. It’s unclear why there was such distrust in the source material, and why a surplus of additions was believed to be the solution.

The performances also suffered from this same directive, often relying on over-the-top delivery. Mitch Karmis, who played two different butlers, mugged for the audience and utilized an almost cartoon-like physicality. David Lovejoy portrayed Lady Bracknell as a Mommie Dearest caricature instead of the formidable, sophisticated society matriarch who delivers scathing lines with dry, icy wit. The performance moved between widely contrasting vocal registers, creating an uneven tone that often felt out of step with Lady Bracknell’s traditionally controlled presence. It was also unclear why, in the final act, Lady Bracknell suddenly transformed into a flirtatious aggressor who growled at Jack and threw herself at the butler. Another odd decision was to have Dr. Chasuble played by Sara Corkery in a rubber race mask.

Amidst these choices, there was a bright spot in Garret Weigel’s Jack. For the most part, Weigel found the right balance between inventive character choices and a respect for the script. Jack could easily be played as a boring straight-man when up against the whimsical Algernon, but Weigel added a distinct flair to his interpretation without straying too far from the original play.

It is genuinely unfortunate that the production chose to deviate so drastically from the text. When done faithfully, The Importance of Being Earnest is a true theatrical gem. While there were moments that elicited genuine laughter, they occurred when the text was allowed to speak for itself, rather than being buried under extraneous gags.

While this hyper-stylized, over-the-top version might appeal to theatergoers seeking a radical, alternative spin on a classic, those looking for a faithful, witty adaptation of Wilde’s masterpiece will likely find this production is not the one.

The Importance of Being Earnest runs through July 26th at Facility Theatre. For more information and/or tickets, visit https://nodogsinthekitchen.org/.

Get ready to have the time of your life! Broadway In Chicago is pleased to announce that single tickets for DIRTY DANCING: THE MUSICAL – a new stage production based on Lionsgate’s beloved film Dirty Dancing – are now on sale. DIRTY DANCING: THE MUSICAL will play Broadway In Chicago’s James M. Nederlander Theatre (24 W. Randolph St.) for a limited two-week engagement, September 9 – 20.

Set against the unforgettable summer of 1963, DIRTY DANCING: THE MUSICAL follows Frances “Baby” Houseman as she discovers love, passion, and independence through her relationship with charismatic dance instructor Johnny Castle. With live music from the original film, DIRTY DANCING: THE MUSICAL is the feel-good escape audiences have been craving, alive with the pulse of electrified dancing, the thrill of secret encounters, and the allure of forbidden romance.

DIRTY DANCING: THE MUSICAL will be directed by Tony Award^® nominee, Obie Award^® winner, and two-time Emmy Award^® winner Lonny Price (Sunset Boulevard, Sweeney Todd), who played Neil Kellerman in the original Dirty Dancing film, with choreography by Darrell Grand Moultrie (Fat Ham, Beyonce’s World Tour). Bringing to the stage the celebrated story from Eleanor Bergstein — the original screenwriter of the film — the musical captures the pulse, romance, and youthful urgency that have defined Dirty Dancing for nearly four decades. This follows Lionsgate’s announcement that the Dirty Dancing sequel starring Jennifer Grey – from The Hunger Games producers Nina Jacobson and Brad Simpson– will begin production this year.

With a fresh creative approach to the timeless love story, this new production will tour North America with an aim to reconnect audiences with the heart, heat, and rebellious spirit that made Dirty Dancing a worldwide sensation.

Dirty Dancing is an enduring cultural phenomenon that began with the iconic film that grossed over $200 million at the worldwide box office and went on to launch two multiplatinum soundtrack albums, numerous #1 hit singles, won an Academy Award^® for Best Original Song and a Grammy^® Award for Best Pop Performance by a Duo or Group with Vocals. The original film is one of Lionsgate’s all-time best-selling library titles. This new North American stage tour aims to honor that legacy while reinventing the live experience for a new era.

DIRTY DANCING: THE MUSICAL is produced by The Path Entertainment Group in conjunction with Lionsgate and Magic Hour Productions.

The creative team includes set design by Brett J. Banakis, costume design by Emily Rebholz, lighting design by Japhy Weideman, sound design by two-time Tony Award® winner Kai Harada, and video design by David Bengali. Casting is by The TRC Company / Claire Burke, CSA & Peter Van Dam, CSA, with music supervision and arrangements by Joseph Joubert. Alchemy Production Group serves as General Manager.

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PERFORMANCE SCHEDULE
Wednesday, September 9 – 7:00 p.m.
Thursday, September 10 – 1:00 p.m. & 7:00 p.m.
Friday, September 11 – 7:00 p.m.
Saturday, September 12 – 2:00 p.m. & 7:30 p.m.
Sunday, September 13 – 1:00 p.m. & 6:30 p.m.

Tuesday, September 15 – 7:00 p.m.
Wednesday, September 16 – 1:00 p.m. & 7:00 p.m.
Thursday, September 17 – 7:00 p.m.
Friday, September 18 – 7:00 p.m.
Saturday, September 19 – 2:00 p.m. & 7:30 p.m.
Sunday, September 20 – 1:00 p.m.

TICKET INFORMATION (As of July 13, based on availability and subject to change)
Individual tickets for DIRTY DANCING: THE MUSICAL are on sale now and range from $40.00 - $135.00 with a select number of premium tickets available. Ticket price listed is when purchased in person at the box office. Additional fees apply for online purchases. Tickets are available now for groups of 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. For more information, visit www.BroadwayInChicago.com.

ABOUT BROADWAY IN CHICAGO
Broadway In Chicago was created in July 2000 and over the past 26 years has grown to be one of the largest commercial touring homes in the country. A Nederlander Presentation, Broadway In Chicago lights up the Chicago Theater District entertaining up to 1.7 million people annually in five theatres. Broadway In Chicago presents a full range of entertainment, including musicals and plays, on the stages of five of the finest theatres in Chicago’s Loop including the Cadillac Palace Theatre, CIBC Theatre, James M. Nederlander Theatre, The Auditorium, and just off the Magnificent Mile, the Broadway Playhouse at Water Tower Place.
 

For more information and tickets, visit www.BroadwayInChicago.com.
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#broadwayinchicago

Overshadowed Theatre Productions brings fresh energy to one of musical theatre’s most enduring classics, offering a spirited and thoughtful take on My Fair Lady. This production leans into the story’s sharp contrasts - class and aspiration, control and independence - and invites audiences to see Eliza Doolittle’s transformation with new clarity. It’s a familiar tale, but Overshadowed’s staging makes it feel newly engaged and unexpectedly resonant.

Taking place in 1912, Edwardian London, My Fair Lady is the story of Eliza Doolittle (Kimberly Nicolosi), a resilient young woman who sells flowers for tuppence and whose Cockney accent marks her as invisible to the upper-class Londoners who pass her by. When she crosses paths with Henry Higgins (John Hacker), a brilliant but insufferably arrogant linguist, he boasts that he can remake her into someone society will accept - someone who can pass as a duchess at an embassy ball. What begins as a bet between scholars becomes a transformation that neither fully anticipates.

As Eliza endures Higgins’ relentless drills and dismissive temperament, she begins to outgrow the very mold he tries to force her into. Her ascent exposes the absurdity of class performance, the fragility of male ego, and the uncomfortable truth that respectability often demands erasing the people who need it most. By the time Eliza steps into high society, she is no longer Higgins’ creation but her own person - one who refuses to be spoken for, spoken over, or spoken down to.

The musical’s enduring tension lies in the question it never answers neatly: whether transformation is liberation or simply another form of confinement. My Fair Lady may dazzle with its elegance, but its heart beats in Eliza’s insistence that dignity is not something granted by others - it’s something claimed.

Lerner and Loewe’s My Fair Lady entered the musical theatre canon in 1956, following its development in 1955–56 and a Broadway premiere led by Julie Andrews and Rex Harrison. The story later reached an even wider audience with the 1964 film adaptation, starring Audrey Hepburn as Eliza and Rex Harrison reprising his stage role as Higgins, released on October 21, 1964.

Overshadowed’s current production of this defining musical is anchored by Kimberly Nicolosi, whose Eliza Doolittle grows with steady assurance and a clear emotional arc that makes her transformation feel genuinely earned. Nicolosi is an absolute whirlwind of conviction, with vocals that match her intensity beat for beat, and a charm that makes her Eliza impossible to resist. Opposite her, John Hacker offers a thoughtfully restrained Henry Higgins, capturing both the character’s intellectual rigidity and the subtle shifts that reveal his dependence on Eliza, and his performance brings a compelling, understated complexity to the role. They shape the show’s strongest and most engaging dynamic. Surrounding them, Glen Lindemann brings gentle dignity to Colonel Pickering, while Madeline Frederick’s composed Mrs. Pierce adds welcome stability to Higgins’ household. Brad Holloman provides lively humor as Alfred P. Doolittle, and the Eynsford-Hill family - Sharon Lindemann as Mrs. Eynsford-Hill and Aren Dawson as Freddy - adds a touch of sweetness and refinement. Anita Silvert’s poised Mrs. Higgins offers a calm counterbalance to her son’s bluster, and she delivers a few of the play’s most pointed one-liners with crisp, knowing precision. Under Reba Hervas’ direction, the ensemble works together with easy cohesion, and Hervas guides the production with a steady, confident hand that keeps the storytelling clear, warm, and consistently engaging.

Though wrapped in Edwardian charm, My Fair Lady carries a clear feminist undercurrent, rooted in Eliza’s fight for self-determination. Her journey is not simply one of refinement but of agency - choosing to reshape her life, challenge the limitations imposed by class and gender, and ultimately assert her independence from Higgins’ control. The production highlights how her transformation belongs to her alone, not to the men who presume to mold her, allowing the story’s critique of patriarchal entitlement and its celebration of female autonomy to resonate beneath the musical’s elegance.

The production’s musical backbone shines through beloved highlights such as “Wouldn’t It Be Loverly,” “The Rain in Spain,” “I Could Have Danced All Night,” and “On the Street Where You Live,” each handled with care under Karen Archbold’s attentive music direction. The staging moves with an easy flow thanks to Katy Smith’s well-shaped choreography, which keeps the transitions light and the ensemble well-coordinated. These elements honor the classic craftsmanship of Alan Jay Lerner, who penned the book and lyrics, and Frederick Loewe, whose score remains one of musical theatre’s most enduring treasures.

The set design stands out as one of the production’s most impressive achievements, delivering a level of polish that will surprise audiences unfamiliar with Overshadowed’s work. Thoughtfully constructed and visually cohesive, it creates an environment that supports the storytelling without ever overwhelming it. This marks the first production by the company to utilize a massive video board, and its use is highly successful - enhancing the world of the play with vivid, effective projections that expand each location with striking clarity. The video board works in concert with well-crafted props and scenic pieces that are seamlessly brought in when needed, creating transitions that feel both fluid and purposeful. The scenic and projection work by Yohannan Lee adds depth and atmosphere, giving each setting a sense of place and intention. Complementing the world onstage, Megan Wilburn’s costume design brings the period to life with authenticity, from the tailored silhouettes to the women’s elaborate Edwardian picture hats, which add a flourish of social detail and visual charm. All of these design choices elevate the production with a craftsmanship that feels both ambitious and warmly inviting.

(from left) - Al Gorr, Brad Holloman and Tony Lopez in My Fair Lady.

Stepping back from the production itself, Overshadowed Theatre reveals a company with a purpose that complements the kind of storytelling seen on their stage. I was struck by how deeply rooted their mission is in creating a welcoming, family-friendly space where storytelling and community go hand in hand. Their history reflects a commitment to mentorship and faith-centered values, with an emphasis on giving young performers a place to grow while offering audiences productions that uplift rather than overwhelm. Overshadowed cultivates an environment built on encouragement, accessibility, and shared experience. The company resides within Jubilee Bible Church in Medinah, IL, and the theatre is fully ADA accessible, with vast and easy parking, spacious corridors, and plentiful concessions that make the audience experience comfortable from the moment you arrive.

Audiences can also look forward to a whimsical shift in tone as the company prepares to stage A Midsummer Night’s Dream, bringing Shakespeare’s mischievous magic, tangled romances, and fairy-filled forest to life. Following that, their upcoming season offers a wide range of titles: Flame of Fire (Sep 18–Oct 10, 2026), an original play written and directed by Artistic Director Reba Hervas. Based on the true 1956 story of Operation Auca, the production recounts the lives of missionaries Jim Elliot, Nate Saint, Pete Fleming, Ed McCully, and Roger Youderian, who were killed while attempting peaceful contact with the isolated Huaorani tribe in Ecuador. The play also explores the extraordinary aftermath, as their wives chose to return to the jungle to forgive the tribe and continue living among them. The season continues with It’s a Wonderful Life (Nov 27–Dec 19, 2026), James and the Giant Peach (Jan 22–Feb 6, 2027), The Stranger by Agatha Christie (Mar 12–20 and Apr 1–10, 2027), and Titanic the Musical (July 9–31, 2027). It’s an ambitious slate that blends classic storytelling, family favorites, and dramatic intrigue, promising a season with something for every kind of theatre-goer.

Overshadowed Theatre’s My Fair Lady emerges as a thoughtful production with a clear point of view, delivered with care both onstage and behind the scenes.

Recommended.

For more show information and tickets, visit https://www.overshadowed.org/.

In the sharp-tongued world of Sarah Burgess’s Dry Powder, presented by Gwydion Theatre Company at the Greenhouse Theater Center, the pursuit of money is a blood sport. The play centers on a high-stakes private equity firm caught in a massive public relations nightmare after laying off thousands of grocery store workers the same week its co-founder threw a flashy engagement party featuring an elephant – but it was just one elephant!

All hope isn’t lost for their reputation, however. A potential way out comes thanks to a struggling, American-made luggage company that believes the firm can save them. Of course, as the firm weighs the acquisition, their definition of “help” may not align with the company’s. At the helm is Rick, the ultimate decision-maker, who has two distinct angels on his shoulders: Seth, the optimistic partner who brought the deal to the table, and Jenny, his cold-hard-cash counterpart. From Seth’s perspective, the deal is a perfect fit; they can rescue an American brand without layoffs and emerge as heroes. For Jenny, this luggage company is just baggage—unless it can be downsized, moved overseas, and engineered into something it once stood against.

Directed with precision by Ellie Thomson, Dry Powder completes Gwydion Theatre’s season, which has explored themes of class, money, and power, and how all three can entangle the soul. The production asks what happens to our humanity when everything is reduced to a column on a balance sheet.

The production thrives on the electric, friction-filled chemistry of its cast, anchored by a series of standout performances.

Carol Kelleher delivers a masterclass performance as Jenny. Playing the de facto villain of the piece, Kelleher crafts a remarkably complex and compelling performance that is utterly enjoyable to watch. She doesn’t just play the role; she completely becomes the character, infusing Jenny’s brutal, unrelenting perspective of greed with a sharp humor. Her performance ensures that even at Jenny’s most calculating, you cannot look away.

As the firm’s head, Rick Yaconis turns in a powerful performance, deftly striking the balance between a paternal mentor and a greasy titan. He shifts effortlessly between a ruthless opponent and a pat-you-on-the-back salesman. 

Grayson Kennedy, a founding member of Gwydion Theatre, brings immense depth to Seth, the firm’s supposedly earnest, morally grounded partner. His clean-cut delivery fits the role perfectly. 

Tommy Thams, co-founder of the theatre company, rounds out the dynamic as Jeff, the CEO of the targeted luggage company. Thams infuses Jeff with the relaxed, easygoing charm of an old buddy, making the audience root for the company’s success and feel genuinely betrayed by what unfolds in the final act.

Burgess’s script is complex, mining dark humor from the shifting dynamics and war of words between these characters. 

Ultimately, Dry Powder leaves the audience reflecting inward. It might be easy to dismiss this play if we aren't personally in a position to dismantle - or attempt to save - a multimillion-dollar company, but the narrative transcends the boardroom. The play holds up a mirror and forces us to look closely at ourselves: Are we good or are we just being nice?

As Jenny pointedly notes, she never lies to the client. Her emotions, her greed, and her hawkish nature are never disguised. Seth, conversely, hides behind a comforting “nice guy” persona, genuinely believing he occupies the moral high ground. But in trying to appease both sides – a greedy firm and a company that needs help – is he actually better or just deceiving himself?

It’s these thought-provoking questions that make Gwydion Theatre’s production a gripping triumph that lingers long after the final blackout.

Dry Powder plays at the Greenhouse Theater until July 26. Tickets and show information here.

Suffs is a musical about history, yes, but more importantly, it is a musical about momentum: who creates it, who resists it (and why), who gets left behind by it, and what it costs to keep pushing it forward.

Set during the height of the women’s suffrage movement in the 1910s, the show follows a group of young suffragists led by Alice Paul, the real-life founder of the National Woman’s Party. Together, they organize, protest, clash with political leaders, become political prisoners, and (spoiler alert) eventually help gain women the right to vote through the 19th Amendment. But Suffs is not content to frame that victory as clean or uncomplicated, or to pretend that, even a century later, the battle is anywhere near over. The musical is just as interested in the fractures within the movement itself: the younger, more aggressive activists pushing against the older, more “respectable” wing of the Suffrage movement, and the women of color forced to fight for a movement that still asks them, again and again, to wait their turn.

That is where Suffs feels most relevant. It is not only a story about the past, but about the way progress still happens now: through generational disagreement, imperfect coalitions, strategic compromises, moral failures, and the constant fear that too much change too quickly might provoke as much backlash as liberation. Shaina Taub’s book, music, and lyrics do an incredible job balancing real history with theatrical fiction, making the politics legible without flattening the people involved into saints or symbols.

Marya Grandy (Carrie Chapman Catt) and company in SUFFS.

Under director Leigh Silverman, the first national tour’s production is just as anchored by its remarkably talented cast as it is by history; the entirely female company takes on both women and men throughout the story. Maya Keleher is excellent as Alice Paul, bringing both vocal strength and exactly the right kind of young, audacious drive to the role. Her Alice has the spunky determination of a character like Newsies’ Katherine, but grown up: sharper, more self-assured, and driven by something deeper than ambition. She is unabashedly devoted to her cause and makes it clear that, no, it’s not just because she’s young.

Playing opposite her are historical figures Carrie Chapman Catt (Marya Grandy), the mature and strategically tactful leader of NAWSA, and President Woodrow Wilson (performed by u/s Merrill Peiffer). Grandy’s dynamic with Alice Paul is one of the production’s strongest relationships, the two women foiling each other beautifully as they reveal different forms of conviction, compromise, and care. Peiffer’s handling of the presidential role was especially smart: funny and pointed, but never so exaggerated that it breaks the world of the show.

A special shoutout also has to go to the trio of Ida B. Wells (Danyel Fulton), Mary Church Terrell (Trisha Jeffrey), and Phyllis Terrell (Victoria Pekel). Multiple times, the energy in the theatre seemed to shift the moment the three of them took the stage together. Their scenes carried a stillness and gravity that made the room go quiet in the best possible way.

Brandi Porter (Dudley Malone) and Jenny Ashman (President Woodrow Wilson) in the First National Touring Company of SUFFS.

Suffs, which premiered Off‑Broadway in 2022 before its award‑winning 2024 Broadway run, continues to prove its power throughout its highly anticipated national tour. The score delivers some of the musical’s most defining moments, from the sharp, scene‑setting opener “Let Mother Vote” to the driving protest energy of “The March (We Demand Equality).” The emotional weight lands beautifully in “I Was Here,” a moving tribute to Ida B. Wells and Mary Church Terrell, while “Keep Marching” rises as the show’s breakout anthem, capturing the spirit of persistence that fuels the entire production.

If I have a critique, it’s that the show leans a bit too heavily into the idea of the production’s scale growing in tandem with the movement’s momentum. Conceptually, I love that choice. In practice, however, especially within the limits of a touring production, the early restraint makes the show take a long time to feel truly sweeping. The first act is good, but it was not until the second half of the second act that I found myself thinking, “Why haven’t they been singing like that, and dancing like that, the whole time?” The choreography has similar highs and lows: effective in moments, but not always as polished as it needs to be for the more intricate sections to feel truly stunning.

Still, by the end, Suffs lands exactly where it needs to. It leaves the audience empowered without pretending that empowerment is the same as change. The show understands that history is not something we revisit for comfort, but something we return to for instruction. Its final message, “your ancestors are all the proof you need / That progress is possible, not guaranteed,” is both a warning and a call to action. Suffs reminds us that the march is not over - and that the responsibility to keep moving belongs to all of us.

Recommended.

Presented by Broadway In Chicago, Suffs is running at CIBC Theatre through July 19th. Tickets are available here.

Oil Lamp Theater, currently presenting The Last Five Years, now extended through July 19, is proud to announce the cast and creative team for its next production, I Love You Because, August 14 - September 13, book and lyrics by Ryan Cunningham, music by Joshua Salzman and orchestrations by Larry Hochman, directed by Scott Shallenbarger and music directed by Aaron Kahn, at Oil Lamp Theater, 1723 Glenview Road. The schedule includes two preview performances Friday, Aug. 14 at 7:30 p.m. and Saturday Aug. 15 at 3 p.m., with an opening performance Saturday, Aug. 15 at 7:30 p.m. The performance schedule is Thursdays and Fridays at 7:30 p.m.; Saturdays at 3 p.m. and 7:30 p.m. and Sundays at 3 p.m. with additional Wednesday performances Wednesday, Aug. 19 at 11 a.m. and 3 p.m.; Wednesday Aug. 26 at 7:30 p.m. (Understudy Performance); Wednesday, Sept. 2 at 11 a.m. and 3 p.m. and Wednesday Sept. 9 at 7:30 p.m. Tickets are on sale now for $30 for previews and $55 for the run at OilLampTheater.org.  

Modern dating is a mess. Sometimes to find Mr. Right you need to find Mr. Wrong – even if that means seeing someone stuck on their ex, awkward encounters of the intimate kind and lots of bad coffee dates. Opposites attract in this feel-good musical that will transport you into the heart of your favorite guilty pleasure rom-com. Created by acclaimed musical team Ryan Cunningham and Joshua Salzman and inspired by Jane Austen’s gold-standard romance novel “Pride and Prejudice,” this delightful modern musical will make you fall head over heels.

The cast of I Love You Because includes Aiden McCoy (any with respect, Austin Bennet); Maxwell J DeTogne (any with respect, Jeff Bennet); Hannah Kipp  (she/her, Marcy Fitzwilliams); Kristin Brintnall (she/her, Diana Bingley); Daria Koon (she/they, NYC Woman); Tommy Rothwells (he/him, NYC Man); Freddy Mauricio (he/him, Austin Bennet U/S); Nic Eastlund (he/him, Jeff Bennet U/S); Kaitie Bonds (she/her, Marcy Fitzwilliams U/S); Dominique Ruffalo (she/her, Diana Bingley U/S); Nikki Holladay (she/her, NYC Woman U/S) and Joe Dennis (he/him, NYC Man U/S).

The production team includes Scott Shallenbarger (he/him, director); Aaron Kahn (he/him, music director/accompanist); Bob Knuth (he/him, scenic designer); Devin Meseke (he/him, properties designer); Maya Reter (she/her, sound designer); Sara Segneri (she/her, stage manager); Danielle Reinhardt (she/her, costume designer); Conner Nicoson (they/them, technical director); Connor Windle (she/her, production manager) and Rose Leisner (she/her, company manager).

ABOUT SCOTT SHALLENBARGER, DIRECTOR

Scott Shallenbarger makes his Oil Lamp debut with I Love You Because. Representative credits include Miracle on South Division Street, I And You, Baby the Musical (Citadel Theatre); Les Miserables (Uptown Music Theatre Company); The Glass Menagerie, Six Degrees of Separation, The Road to Mecca, Hot L Baltimore, The Children’s Crusade (Raven Theatre); Jeffrey and Love, Valor, Compassion (Hubris Productions) and Skyscraper (Piven Theatre). Shallenbarger is a published playwright and teaching artist who would like to thank you, dear audience, for attending live theatre. 

ABOUT AARON KAHN, MUSIC DIRECTOR

Aaron Kahn is thrilled to be returning to Oil Lamp after previously working on the productions of It’s A Wonderful Life: A Radio Play and The Marvelous Wonderettes. Kahn is also a private voice teacher at the Christopher Laughlin School of Music in Northbrook and is a staff accompanist at Carthage College. Other favorite music and assistant music direction credits include: Fugitive Songs (Stagedoor Manor); Mel Brooks’ The Producers (Music Theater Works); A Little Night Music (Theo Ubique) and Spring Awakening (4 Chairs Theatre). 

MORE FROM FROM OIL LAMP THEATER

Dial M for Murder

October 2 – November 1, 2026

Adapted by Jeffrey Hatcher from the original play by Frederick Knott

Directed by Daniel King

Preview Performances: Friday, Oct. 2 at 7:30 p.m. and Saturday, Oct. 3 at 3 p.m. 

Opening Night: Saturday, Oct. 3 at 7:30 p.m. 

Performance schedule: Thursdays and Fridays at 7:30 p.m.; Saturdays at 3 p.m. and 7:30 p.m. and Sundays at 3 p.m. with additional Wednesday performances Wednesday, Oct. 7 at 11 a.m. and 3 p.m.; Wednesday Oct. 14 at 7:30 p.m. (Understudy Performance); Wednesday Oct. 21 at 11:00 a.m. and 3 p.m. and Wednesday, Oct. 28 at 7:30 p.m.

Alfred Hitchcock’s adored, chilling thriller gets a modern twist that no one will see coming. A murderous misstep begins a high-stakes hunt for the real criminal as time is quickly running out. This captivating, heart-racing play leaves audiences on the edge of their seats while the mystery of the year unravels before their eyes. Will the clues unlock the right person, or will an innocent victim pay the price? The suspense is to die for…

It’s A Wonderful Life: A Live Radio Play

November 20 - December 27, 2026

Adapted by Joe Landry

Directed by Becca Holloway

Preview Performances: Friday, Nov. 20 at 7:30 p.m. and Saturday, Nov. 21 at 3 p.m. 

Opening Night: Saturday, Nov. 21 at 7:30 p.m. 

Performance schedule: Thursdays and Fridays at 7:30 p.m.; Saturdays at 3 p.m. and 7:30 p.m. and Sundays at 3 p.m. with additional Wednesday performances Wednesday, Dec. 2 at 11 a.m. and 3 p.m.; Wednesday Dec. 9 at 7:30 p.m. (Understudy Performance); Wednesday Dec. 16 at 11:00 a.m. and 3 p.m. and Wednesday, Dec. 23 at 7:30 p.m.

The holiday tradition returns for its 13th year. Audiences may experience unmatched holiday cheer with Frank Capra's beloved classic, “It's a Wonderful Life,” reimagined as a captivating live radio play, complete with foley sound effects and set in our own WBFR radio studio.

Journey to Bedford Falls, where George Bailey's troubles lead him to wish he was never born. Clarence, an angel sent to intervene, steps in to make his wishes come true and George quickly learns just how many lives he has touched and just how blessed he really is.

*All productions, dates, creatives, etc. are subject to change.

ABOUT OIL LAMP THEATER

Oil Lamp Theater is a professional nonprofit performing arts organization in Glenview, Illinois, welcoming over 10,000 patrons annually from more than 225 communities—41% from Glenview and others from across the North Shore and Chicago. Since establishing its intimate 60-seat home in downtown Glenview in 2012, Oil Lamp has grown into a cultural beacon, earning recognition as “Best Live Theatre in the North Shore” for four consecutive years.

With more than 70 productions to date, Oil Lamp is known for its dynamic Mainstage season, special events and its resilience during the pandemic, when it innovated with drive-in performances and outdoor productions. Today, the theatre continues to foster connection, broaden horizons and illuminate the human condition through professional theater and year-round programming.

In addition to its productions, Oil Lamp Theater operates Oil Lamp Academy, its education branch dedicated to “Training for Life Through the Performing Arts.” In 2025 alone, the program served more than 230 students ages three to 97 years old, offering classes that use theater as a pathway to build confidence, creativity and lifelong skills.

This past September, Oil Lamp launched  Light The Way, a transformative fundraising campaign designed to expand arts education, strengthen essential staff and establish a larger performance venue with the goal of staying in downtown Glenview. Building on its roots as a scrappy storefront, Oil Lamp is evolving into a more robust organization—without losing the intimacy and warmth that define its theater experience. Oil Lamp Theater hopes this announcement inspires excitement throughout the community. Stay tuned as additional news is shared in the near future. For information or to support the campaign go to OilLampTheater.org/Light-the-Way or reach out to Oil Lamp at This email address is being protected from spambots. You need JavaScript enabled to view it..

Oil Lamp Theater, currently presenting The Last Five Years, now extended through July 19, is proud to announce the cast and creative team for its next production, I Love You Because, August 14 - September 13, book and lyrics by Ryan Cunningham, music by Joshua Salzman and orchestrations by Larry Hochman, directed by Scott Shallenbarger and music directed by Aaron Kahn, at Oil Lamp Theater, 1723 Glenview Road. The schedule includes two preview performances Friday, Aug. 14 at 7:30 p.m. and Saturday Aug. 15 at 3 p.m., with an opening performance Saturday, Aug. 15 at 7:30 p.m. The performance schedule is Thursdays and Fridays at 7:30 p.m.; Saturdays at 3 p.m. and 7:30 p.m. and Sundays at 3 p.m. with additional Wednesday performances Wednesday, Aug. 19 at 11 a.m. and 3 p.m.; Wednesday Aug. 26 at 7:30 p.m. (which is an understudy performance); Wednesday, Sept.. 2 at 11 a.m. and 3 p.m.; and Wednesday Sept. 9 at 7:30 p.m. Tickets are on sale now for $30 for previews and $55 for the run at OilLampTheater.org.