Displaying items by tag: live theatre

Some musicals carry such cultural weight that every new production feels like a referendum on how well a company can honor the original while making it feel alive again. West Side Story is one of those titles - a towering achievement in American musical theatre, a work whose emotional force and artistic innovation have endured for generations. Music Theater Works has now taken on this iconic musical at the North Shore Center for the Performing Arts in Skokie, and the result is a vibrant, beautifully staged production that captures both the drive and the aching humanity at the heart of the piece.

West Side Story is a modern retelling of Shakespeare’s Romeo and Juliet, but instead of two feuding families, it confronts the racial and cultural fault lines running through 1950s New York City. The Jets, a group of white American teenagers clinging to their sense of territory, clash with the Sharks, a Puerto Rican gang fighting for dignity, safety, and the right to belong in a city that continually pushes them to the margins. Their conflict is not just about turf; it is fueled by fear, resentment, and the prejudice that shapes how each group sees the other. When Tony, a former Jet trying to build a life beyond the violence, meets Maria, the sister of Sharks leader Bernardo, their connection is immediate and transformative. What begins as a spark of hope quickly becomes a dangerous love story unfolding against a backdrop of cultural tension, territorial pride, and escalating hostility.

As the feud intensifies, the young couple’s attempts to carve out a future together collide with the realities of their world. The rumble between the Jets and Sharks sets off a tragic chain of events, leaving Tony and Maria grasping for peace in a city determined to deny it. The musical’s final moments - heartbreaking, inevitable, and deeply human - underscore the cost of hatred and the fragile possibility of reconciliation.

The production also underscores one of the musical’s most enduring truths: that the idealism Tony and Maria cling to is constantly at war with the harsher realities shaping their world.

The creative pedigree behind West Side Story remains one of the most extraordinary collaborations in theatre history. Leonard Bernstein’s sweeping, genre‑blending score, Stephen Sondheim’s razor‑sharp lyrics, Arthur Laurents’ emotionally charged book, and Jerome Robbins’ groundbreaking choreography combine to create a work that is as musically thrilling as it is dramatically devastating. Bernstein’s score - among the most challenging he ever composed and one he found deeply artistically satisfying - remains one of his most defining artistic accomplishments. It is a piece that demands precision, passion, and a deep understanding of its themes, and Music Theater Works rises to that challenge with clarity and heart.

The company’s production is superbly realized, delivering crisp choreography, rich orchestral color, and performances that honor the emotional stakes of the story. It is a staging that respects the legacy of West Side Story while making the experience feel immediate and alive for today’s audiences.

(L to R) Pauleth Jauregui as Anita and Isabella Ruano as Maria in WEST SIDE STORY from Music Theater Works.

The cast is terrific, but it is Isabella Ruano as Maria and Pauleth Jauregui as Anita who anchor the production, grounding it with performances that feel both lived‑in and emotionally urgent. Ruano’s Maria is luminous from her first entrance, her voice soaring through “Tonight” with a clearness and warmth that make the character’s hope feel newly electric. Jauregui matches her beat for beat, delivering an Anita rich with fire, humor, and heartbreak; her vibrant, sharply etched “America” is one of the evening’s defining moments. Together, they anchor the musical’s emotional arc with a confidence that elevates every scene they touch.

Offering a warm, earnest Tony is Luke Nowakowski, his ringing tenor in “Maria” and sincerity in “Something’s Coming” providing a steady, heartfelt counterpoint to the show’s rising tensions. Emmanuel Ramirez’s Bernardo contributes a controlled intensity, shaping the Sharks’ dynamic with quiet authority, while Kameron Rojas Schueneman’s Chino adds thoughtful, understated work that lands effectively in the final scenes.

Connor Ripperger brings a commanding presence as Riff, sharpening the Jets’ energy with restless physicality and crisp musical attack. His leadership in “Cool” gives the number a taut, combustible edge that sets the tone for the gang’s world.

If there’s one aspect that doesn’t land quite as strongly in this otherwise beautifully executed production, it’s the chemistry between Tony and Maria. While both Nowakowski and Ruano act with sincerity and sing with impressive range, clarity, and confidence, their scenes together occasionally feel more musically aligned than emotionally connected. The relationship lands, but at times you want a deeper spark between them - a stronger sense of shared urgency to match the vocal strength they each bring individually. And because this performance comes so early in the run, it’s easy to imagine that their connection will deepen as the actors settle further into each other’s rhythms.

That note aside, the principal cast delivers a production driven by strong voices and sharply drawn character work, with Ruano and Jauregui leading the charge.

The wider ensemble gives the production its pulse, moving with a clarity and drive that continually pushes the story forward, and Eric Desnoyers brings a welcome touch of humor as Officer Krupke, landing sharp comedic beats that lighten the show’s more chaotic moments. But above all, it is the wide-ranging, contemporary ballet-infused dance sequences that catch fire - those large, kinetic passages where movement becomes the show’s primary language. Much of the choreography folds fighting into dance, turning confrontation into something almost balletic: graceful, sculpted, and charged with tension. The company navigates these moments with remarkable control, letting the beauty of the movement coexist with the danger underneath.

In these sequences, the ensemble moves with a shared purpose, letting the choreography shape the conflict and momentum without overstating it. Their control and cohesion give the dance its impact, turning each major passage into a clear highlight that quietly but confidently lifts the production.

(L to R) Luke Nowakowski and Isabella Ruano in WEST SIDE STORY from Music Theater Works at North Shore Center for the Performing Arts.

Though the stage musical has always kept its original song order - and I understand the desire to preserve that structure - I’ve long hoped to see a production take a cue from the film in one particular moment. In the movie, “America” becomes a spirited debate between the Shark men and women, with Bernardo and Anita sparring over their hopes and frustrations about life in the United States. That dynamic not only brings Bernardo further into focus and deepens his relationship with Anita, it also gives the number a fuller, more energized sweep by letting a larger group of dancers drive its rhythm. The stage version’s women‑only arrangement works, but the film’s version has always struck me as the more dramatically rich and character‑revealing choice.

Beyond the choreography, the production’s artistic leadership is equally strong. The creative team brings seamless cohesion to this production. Director Sasha Gerritson guides the story with clarity and emotional focus, while co-choreographers Clayton Cross and Isa Ramirez deliver movement that honors the show’s iconic style with a fresh, contemporary lift. Linda Madonia’s musical direction keeps Bernstein’s score warm, tight, and expressive, supported by Justin Kono’s precise, sensitive conducting. The orchestra plays Bernstein’s score with crisp articulation and a full, glowing sound, letting the music’s rhythmic bite and lyrical sweep land with real impact. David Serrano’s Spanish translation adds welcome authenticity, with Spanish subtitles projected overhead during musical numbers that make the language accessible to both native speakers and those following along. The production’s most charged moments are shaped with care and impact through intimacy and violence choreography crafted by Nick Sandys.Director Sasha Gerritson guides the story with clarity and emotional focus, while co-choreographers Clayton Cross and Isa Ramirez deliver movement that honors the show’s iconic style with a fresh, contemporary lift. Linda Madonia’s musical direction keeps Bernstein’s score warm, tight, and expressive, supported by Justin Kono’s precise, sensitive conducting. The orchestra plays Bernstein’s score with crisp articulation and a full, glowing sound, letting the music’s rhythmic bite and lyrical sweep land with real impact. David Serrano’s Spanish translation adds welcome authenticity, with Spanish subtitles projected overhead during musical numbers that make the language accessible to both native speakers and those following along. The production’s most charged moments are shaped with care and impact through intimacy and violence choreography crafted by Nick Sandys.

Visually, the production is exceptionally well crafted. Bob Knuth’s scenic design and Cecilia Chan’s props work ground the story firmly in its era, giving the stage a lived-in authenticity that supports the drama without overwhelming it. The printed scenic drops hanging above and along the sides and rear of the stage - with their black windows, fire escapes, and bold red backgrounds - add a distinctive graphic layer, subtly echoing the stark lines and verticality of the 1961 movie poster designed by Joe Caroff. It is a smart visual nod that connects the production to its cinematic legacy without feeling derivative, instead offering a familiar, poster-like clarity that frames the action with understated style.

Bob Kuhn’s costumes and Kristen Brinati’s wardrobe leadership capture the period with clean, thoughtful detail, while Alice Salazar and Melanie Saso’s hair, wig, and makeup design add the finishing touches that make the Jets and Sharks feel fully appreciated. Andrew Meyers’ lighting brings sharp contrast and emotional texture to the stage, and Stephanie Farina’s sound design keeps the vocals and orchestra balanced and clear. This talented team builds an environment that feels true to the time, the place, and the heartbeat of West Side Story.

Taken together, these elements give the production a unity that extends well beyond its individual performances. The design work, staging choices, and musical precision all reinforce one another, creating a West Side Story that feels both faithful to its roots and freshly energized for a new audience. Taken together, these elements give the production a unity that extends well beyond its individual performances. The design work, staging choices, and musical precision all reinforce one another, creating a West Side Story that feels both faithful to its roots and freshly energized for a new audience. It’s a staging that understands the show’s emotional architecture and honors it with care. A staging this confident proves just how alive West Side Story can still feel.

Music Theater Works brings all of this together in a final product that feels both classic and newly urgent. Their West Side Story is a richly performed, thoughtfully designed, and confidently led production that honors the legacy of this landmark musical while giving it the vitality it deserves. Audiences can experience this outstanding staging August 13–30, 2026, and full details - including tickets - are available at www.musictheaterworks.com.

Recommended.

Otherworld Theatre blasts back into the cosmos with Season 4 of Starship Edsel: An Improvised Star Trek Parody, the latest chapter in its long-running improvised Star Trek satire. Now in its fourth outing, the misfit crew of the USS Edsel once again shows why the production remains a reliably funny fixture in Chicago’s sci-fi comedy landscape: sharp improvisers, affectionate genre parody, and the kind of starship energy you’d never find in the Federation’s official logs.

This season sends the Edsel crew tumbling through new temporal and interstellar absurdities, driven by the fast-paced, character-focused humor that has defined the show from the start. The ensemble dives into the joyful dysfunction of a starship seemingly held together by duct tape and questionable decisions, mixing Trek lore nods with gleeful irreverence and the lived-in chemistry that makes every malfunction and misunderstanding feel inevitable. That energy takes shape in an entirely new crisis: after stumbling through the early Star Trek timeline, the Edsel is abruptly flung centuries forward into the 32nd century, a future shaped by Star Trek: Discovery. Suddenly the galaxy looks unfamiliar, the rules have changed, and the crew finds themselves surrounded by Starfleet Academy cadets who seem barely old enough to pilot a shuttle, let alone judge the Edsel’s competence. I’m not sure whether the mission changes from performance to performance, but in this “episode” their assignment was deceptively simple – secure a peace‑extension treaty with the Blavakians (I hope I got that right) – and what should have been a straightforward diplomatic task stretched into an endlessly delayed ordeal, derailed by hilarious temporal hiccups, cultural misunderstandings, and the Edsel’s trademark ability to complicate even the calmest negotiations.

Directed by Second City alum Anthony LeBlanc, Chicago’s premier sci-fi theatre company brings its hit improvised Star Trek parody to Second City’s De Maat Theatre for its fourth season. Running from August 9 through September 13, the show lands every Sunday at 6 p.m., continuing Otherworld Theatre’s tradition of blending sharp improv, affectionate Trek satire, and the unpredictable charm of the galaxy’s most questionable starship.

The cultural whiplash is immediate: advanced tech they have never seen, protocols they do not understand, and a timeline that expects far more professionalism than the Edsel has ever demonstrated. With a brand-new captain stepping aboard, their six-week mission quickly spirals into new complications, leadership challenges, and the unscripted deep space mayhem that has carried the show through all four seasons.

One of the strongest comedic through lines comes from Wanjiku Kairu Oliver, who steps in as Captain Reitanna Troi and delivers a sharply tuned, consistently funny performance. She begins as an overly supportive, everyone-is-my-friend, besties-with-everyone captain desperate to be liked, then after a well-intentioned nudge from Admiral Jean Pierre Baptiste (played with dry precision and understated comic bite by Edward Neequaye) swings far too hard into stern, over-the-top authority, hilariously misreading his call for a middle ground he clearly thought was obvious.

Season 4’s comic energy is driven by a nimble ensemble that thrives on the Edsel’s brand of barely functional spacefaring misadventure. While the lineup can shift from week to week, in the performance I saw many of the standout laughs came from Matt Kawa as Lt. T’Pang Gah (what's better than a delightfully anachronistic Vulcan?); Carlos Rivera as Chief Counselor J’Errrs’Q, a Klingon with impeccable comedic timing; and Mike Mazzella’s Lt. Cmdr. James Buchanan. Together with the rest of the performers, the crew embraces bold physical comedy and sharp genre parody, making the Edsel’s catastrophes feel both inevitable and irresistible.

What makes the show genuinely entertaining is the cast’s ability to improvise on the spot with razor-precise timing. The performers take every unexpected turn, audience suggestion, and self-inflicted disaster and heighten it with quick pivots, smart character choices, and a shared instinct for building jokes together. The comedy never feels forced or manufactured; it grows organically from the crew’s chemistry and their collective willingness to commit fully to whatever absurdity the Edsel throws at them. The improvisation feels both effortless and impressively precise.

Starship Edsel makes clever use of multimedia to introduce and deepen its characters, with video briefings, ship diagnostics, and on-screen prompts that instantly ground the audience in its improvised sci-fi universe. The set, though minimal, somehow conjures the impression of a functioning starship interior – just enough structure to suggest the Edsel’s corridors and consoles while leaving the performers room to build the world through play. Before the episode begins, Admiral Jean Pierre Baptiste invites the audience to help repair the ship’s failing systems by answering a pair of questions; in this performance, the strangest gift ever received (a skunk) and the oddest motivational tactic from a boss (a magic trick) became key inputs. This talented ensemble wove both suggestions into the narrative with seamless, absurd precision, turning offhand audience answers into some of the night’s funniest running gags.

Created from a live-action role-playing framework written by Brandon Brylawski, the show uses that narrative backbone to fuel an ever-shifting roster of characters and cosmic complications. Each week’s cast builds on that structure with their own improvised twists, expanding the Edsel’s universe in ways that feel both unpredictable and perfectly in tune with the ship’s legacy. The result is a mission that always feels alive, flexible, and primed for fresh absurdity.

You do not need to be a die-hard Trekkie to enjoy Starship Edsel – far from it. While longtime fans will catch the deeper nods to Trek lore, the show’s comedy lands just as well for anyone walking in cold. I say that as someone who grew up religiously watching the original series (TOS) and The Next Generation, and who never fully made the jump to the sprawling lineup of later shows beyond the films. Even with my old-school Trek background, the Edsel’s improvised storytelling, character-driven humor, and affectionate parody make the experience completely accessible and endlessly entertaining.

If you are looking for a night of comedy that goes boldly where no starship should ever go, the Edsel is absolutely the disaster you want to beam aboard.

Run Dates: Opening – Sunday August 9 at 6 p.m., Closing – Sunday September 13 at 6 p.m.

Location: Second City’s De Maat Theatre, 1608 N Wells, Chicago, IL 60614

Running Time: 60-75 minutes with no intermission

Tickets: $25 general admission

Direct Ticket Link: https://www.secondcity.com/shows/chicago/starship-edsel-an-improvised-star-trek-satire-chi

Theatre Company Link: https://www.otherworldtheatre.org/starshipedsel

Theatre 31 Productions’ Gus and Alice has returned to the Greenhouse Theater Center this month. Written by Chicago playwright Mike Rago, the light‑hearted slice‑of‑life comedy follows an elderly married couple whose days revolve around avoiding gluten and surviving a game of Trivial Pursuit. As they enter their next chapter, Alice wonders whether a retirement community might be the right move - though her curmudgeonly husband will need some convincing.

Gus and Alice made its debut in New York before heading to the Windy City earlier this year for a sold‑out run. Now the original cast returns for this limited engagement, greeted with an unmistakably warm welcome on opening night.

The one‑act play has the feel of a ’90s sitcom (albeit one with a few well‑placed expletives). It kicks off with snappy dialogue and brisk blackouts that introduce the couple and their marriage - full of the love and bickering reminiscent of The Honeymooners’ Ralph and Alice. These characters are familiar, but the timelessness of the humor still rings true.

Rago set out to write a show centered on aging parents, a group often sidelined in comedy. At the core of the production’s success is the chemistry between Al Lerner and Michelle McKenzie‑Voigt, who bring Gus and Alice to life with a dynamic ease that anchors every scene they share. McKenzie‑Voigt, a Chicago‑based theater actress, professional voice talent, and multiple Chicago Emmy Award‑nominee, gives Alice a warm, grounded presence that balances Lerner’s sharper edges. Chicagoans may recognize Lerner from his days as a sports reporter and radio talk show host - a career that includes his work as a Sports Anchor/Reporter for ABC’s WLS‑TV, a Feature Reporter for NBC’s WMAQ‑TV, and a major on‑air presence at WGN Radio, where his talk show was nationally syndicated. Together, Lerner and McKenzie‑Voigt play off each other beautifully, trading barbs or getting on each other’s nerves while keeping their characters rooted in an understanding of love. Lerner grounds the cantankerous Gus with a short‑tempered crankiness that somehow remains endearing, while McKenzie‑Voigt shines as the sensible, fun‑loving Alice who can keep her husband in check.

Supporting the central pair is Peter Goldsmith as their son. His relaxed, relatable persona fits the role naturally; he deftly portrays a son who understands his parents’ quirks and effortlessly lets it slide when his dad calls him by his brother’s name. He proves to be the perfect straight man, playing the role with an intelligent ease.

The small ensemble adds quirky flavor. Valerie O’Connor is especially funny as the neighbor who’s had a bit too much to drink. A few ensemble members lean into a heightened, overly silly style of comedy, but it mostly suits the material. The show caps off with a high‑energy curtain‑call dance to the Macarena, a playful final beat that even draws a few audience members to join in.

Gus and Alice delivers a warm, laughter‑filled evening. This breezy comedy may tread familiar territory, but it reminds us what truly makes a family: loving each other even when we drive each other crazy.

Runtime: 1 hour 5 minutes

Rating: PG‑13

No intermission

Remaining show dates and times: Saturday, August 15 at 7:30 PM, Saturday, August 22 at 3:00 PM, Sunday, August 23 at 3:00 PM

The Greenhouse Theater Center 2257 N Lincoln Ave Chicago, IL 60614 Up Main Stage

Tickets: https://ci.ovationtix.com/36644/production/1281986

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

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

Birds of North America recently received seven 2026 Equity Jeff Award nominations including Best Play, Best Director (Kirsten Fitzgerald), Best Performer in a Principal Role (John Judd and Cassidy Slaughter Mason), Best Scenic Design (Morgan Laszlo) and Best Sound Design and Best Original Music in a Play (Ethan Korvne).

About the Production:

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

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

★★★★

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

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

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

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

–Chris Jones, Chicago Tribune

★★★½

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

–Mike Davis, Chicago Sun-Times/WBEZ Chicago

RECOMMENDED! "A tender portrait that walks the taut line

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

–Irene Hsiao, Chicago Reader

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

Subscribers for A Red Orchid's 2026/27 Season may add Birds of North America to their package at a discounted rate. Season subscriptions are currently on sale at aredorchidtheatre.org/season-34.

*Denotes A Red Orchid Theatre Ensemble Member

PRODUCTION DETAILS:

Title: Birds of North America

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

Understudies: Sahar Dika and Guy Wicke

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

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

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

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

About the Artists:

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

in Los Angeles with her family.

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

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

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

 Lead Production Sponsor: Zell Family Foundation. Production Sponsor: Northern Trust.

About A Red Orchid Theatre:

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

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

Back by popular demand, the sold out hit, THE BOOK OF MORMON , is returning to Chicago! Broadway In Chicago is excited to announce tickets will go on sale on Friday, August 7. THE BOOK OF MORMON will play Broadway In Chicago’s Cadillac Palace Theatre (151 W. Randolph St.) for a limited engagement, October 23 – November 1.THE BOOK OF MORMON tour production photos can be found here.THE BOOK OF MORMON features book, music and lyrics by Trey Parker, Robert Lopez and Matt Stone. The Broadway production is directed by Parker and two-time Tony Award winner Casey Nicholaw, and choreographed by Nicholaw. The tour is directed and choreographed by Jennifer Werner based on the original Broadway direction and choreography. Set design is by three-time Tony Award winner Scott Pask, costume design is by Tony Award winner Ann Roth , lighting design is by five-time Tony Award winner Brian MacDevitt, sound design is by two-time Tony Award winner Brian Ronan, and hair design is by Josh Marquette. Orchestrations are by Tony Award winner Larry Hochman and two-time Tony Award winner Stephen Oremus. Music supervision and vocal arrangements are by Stephen Oremus. Casting is by Carrie Gardner.Since opening on March 24, 2011, THE BOOK OF MORMON  has become one of the most successful shows in Broadway history, breaking the Eugene O’Neill Theatre house record more than 50 times. In addition to nine Tony Awards including Best Musical and the Grammy for Best Musical Theatre Album, THE BOOK OF MORMON  won five Drama Desk Awards including Best Musical, the NY Drama Critics Circle Award for Best Musical, the Drama League Award for Best Musical and four Outer Critics Circle Awards including Best Musical.The West End production opened in February 2013, winning four Olivier Awards including Best New Musical, and breaking the record for the highest single day of sales in West End history. The first-ever UK and European tour launched in Manchester in June 2019, winning ‘Best Theatre Show’ at the Manchester Evening News City Life Awards before touring throughout the UK and Europe.THE BOOK OF MORMON has been performed on three continents and has won over 30 international awards. The musical has smashed long-standing box office records in New York, London, Melbourne, Sydney and in cities across the U.S. and the world.The Original Broadway Cast Recording for THE BOOK OF MORMON, winner of the 2011 Grammy Award for Best Musical Theater Album, is available on Ghostlight Records.NETWORKS PRESENTATIONS (Producer) is an industry-leading producer of touring theatrical productions, committed to delivering quality entertainment to audiences worldwide for more than 25 years. www.networkstours.comFor more information, visit thebookofmormontour.com

PERFORMANCE SCHEDULE
Friday, October 23 – 7:00 p.m.
Saturday, October 24 – 2:00 p.m. & 7:30 p.m.
Sunday, October 25 – 1:00 p.m. & 6:30 p.m.
Tuesday, October 27 – 7:00 p.m.
Wednesday, October 28 – 7:00 p.m.
Thursday, October 29 – 7:00 p.m.
Friday, October 30 – 7:00 p.m.
Saturday, October 31 – 2:00 p.m. & 7:30 p.m.
Sunday, November 1 – 1:00 p.m. & 6:30 p.m.

TICKET INFORMATION (As of August 6, based on availability and subject to change)
Individual tickets for THE BOOK OF MORMON go on sale Friday, August 7 and range from $49.00 - $139.00 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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Producing Artistic Director Kyle A. Dougan and Music Theater Works are proud to announce its 47th season. The 2027 season at the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd. includes Parade, March 4 - 28, 2027; Bye Bye Birdie, August 12 - 22, 2027; Mary Poppins, October 7 - 31, 2027, and the fourth and final show to be announced, December 16, 2027 - January 2, 2028. Parade and Mary Poppins will be in the North Theatre where Music Theater Works reimagines shows to fit the more intimate space while Bye Bye Birdie and the fourth show will be performed at the George Van Dusen Theatre to showcase these shows on a larger scale. Current members may renew for the 2027 season now with new memberships available beginning Wednesday, Oct. 7 at 12 p.m. and single tickets for all the 2027 productions will go on sale Wednesday, Jan. 14, 2027 at 12 p.m. For more information on the 47th season go toMusicTheaterWorks.com and for membership renewals call 847-673-6300.

"This season tells the story of who we are. From the urgent humanity of Parade to the infectious joy of Bye Bye Birdie, the timeless magic of Mary Poppins and an exciting finale still to come, each production reflects our belief that musicals have the power to unite us across generations,” said Producing Artistic Director Kyle Dougan-LeBlanc. As we celebrate 47 years, we aren't simply looking back, we're investing in the future of this art form by creating experiences that are intimate, inclusive, artistically bold and deeply connected to our community. That has always been our purpose, and it's what will carry Music Theater Works into the future.”

The Music Theater Works 2027 season includes:

PARADE

March 4 - 28, 2027

Book by Alfred Uhry

Music and Lyrics by Jason Robert Brown

North Theatre at the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd., Skokie

Parade is the daring, Tony Award-winning musical masterpiece from Alfred Uhry (Driving Miss Daisy) and Jason Robert Brown (The Last Five Years, The Bridges of Madison County). Based on a true story, Parade follows Leo and Lucille Frank, a young Jewish couple from New York whose new life in early 20th-century Georgia is upended when Leo is accused of a devastating crime. As their marriage, faith and belief in justice are tested, they confront prejudice, political pressure and a community searching for someone to blame. In this unflinching, intimate production, Parade brings audiences face-to-face with a story of love, resilience and the enduring pursuit of truth.

BYE BYE BIRDIE

August 12 - 22, 2027 

Book by Michael Stewart

Music by Charles Strouse

Lyrics by Lee Adams

George Van Dusen Theatre at the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd., Skokie

A Tony Award-winning and classic musical comedy set in small-town 1950s America, Bye Bye Birdie tells the story of rock & roll star “Conrad Birdie.” When Conrad gets drafted into the Army, he plans to say a final goodbye to the town of Sweet Apple, Ohio - but not without a farewell kiss! Based on the events of Elvis Presley’s own draft into the Army in 1957, Bye Bye Birdie is a sweet, lighthearted musical filled with young romance and just a bit of chaos featuring the classics “Put on a Happy Face,” “How Lovely to Be a Woman” and, of course, “Bye Bye Birdie.”

Disney and Cameron Mackintosh’s

MARY POPPINS 

October 7 - 31, 2027

Book by Julian Fellowes

A musical based on the stories of P.L. Travers and the Walt Disney Film

Original Music and Lyrics by Richard M. Sherman and Robert B. Sherman

Book by Julian Fellowes

New Songs and Additional Music and Lyrics by George Stiles and Anthony Drewe

Co-Created by Cameron Mackintosh

North Theatre at the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd., Skokie

Cameron Mackintosh's and Disney’s Tony Award-winning “Best Musical” Mary Poppins brings its timeless magic to audiences of all ages. Set inside a child’s oversized Victorian doll house that bursts open with imagination, wonder and theatrical magic, everyone’s favorite nanny arrives with her iconic umbrella to take the Banks family, and audiences, on an unforgettable journey. Featuring beloved songs including “A Spoonful of Sugar,” “Supercalifragilisticexpialidocious” and “Step in Time,” this enchanting production is filled with breathtaking dance, dazzling visual moments and heartwarming storytelling. A magical experience for both children discovering the wonder of the story for the first time and adults rediscovering the joy and nostalgia of a beloved classic, Mary Poppins is a family adventure where imagination takes flight and everything is truly “Practically Perfect.”

Show #4

December 16, 2027 - January 2, 2028

George Van Dusen Theatre at the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd., Skokie

Award-winning Redtwist Theatre’s new 22nd season, “State of Violence,” begins with Prayer Circle, September 17 - November 8, by Erik Gernand and directed by Executive Artistic Director Dusty Brown, at Redtwist Theatre, 1044 W. Bryn Mawr Ave. Preview performances are Thursday, Sept. 17, Friday, Sept. 18 and Saturday, Sept. 19 at 7:30 p.m. Regular performance schedule includes Thursdays through Saturdays at 8 p.m. and Sundays at 3:30 p.m. Single tickets are on sale starting August 15 for $50 (seniors and veterans: $35; students: $10 and Fridays are Pay-What-You-Can) with subscriptions also available at RedtwistTheatre.org. 

As the world hurtles ever faster in the wrong direction, Addy discovers she may have the power to make it better. Joining with the members of a small town prayer circle, four people try to convince their pastor to pray with them… to bring about some killer results. Erik Gernand, Redtwist’s resident playwright, invites audiences to a darkly comedic debate - how far would you go to save your country?

The cast of Prayer Circle includes Jaqueline Grandt* (Marilyn); Philip Matthews* (Pastor Evans); Andi Muriel (Addy); Kezia Waters (Doug); Macaria Chaparro Martinez* (Carol); Natalie Rae (Marilyn U/S); Jeff Menezes (Pastor Evans U/S); Jessie Skonesey (Addy U/S) and Marco Antonio Perez (Doug U/S).

The creative team of Prayer Circle includes Erik Gernand (playwright); Dusty Brown (director); Joshua Servantez (assistant director); Jeff Brain* (scenic designer); Leo Bassow* (props designer); Piper Kirchhoffer* (lighting designer); Madeline Felauer (costume designer) and Charlie Tolbert (production manager).

*denotes Redtwist Theatre Ensemble Member

ABOUT ERIK GERNAND, playwright 

Erik Gernand is a Chicago-based playwright and filmmaker. His play The Totality of All Things won a Jeff Award for Best New Work for its 2024 production at Redtwist Theatre where he is the playwright in residence. His plays have been produced around the country, including at The Barrow Group (New York City), The ROAD Theatre Company (Los Angeles) and City Theatre (Miami) and have been published by Dramatic Publishing and Smith & Kraus. His award-winning short films have screened at more than 100 film festivals around the world including SXSW, Cinequest, Outfest and the Chicago International Film Festival and have been broadcast on IFC, PBS and The Logo Channel. Gernand is a professor of instruction in radio-TV-film at Northwestern University.

ABOUT DUSTY BROWN, director

Dusty Brown is the executive artistic director of Redtwist Theatre. They began their career as a stage hand in Atlanta, Georgia, working on everything from Shakespeare to new works, and everything in between. They received their MFA in directing from Ohio University in 2021. Notable productions include: Steve Yockey's Wolves at Redtwist and Pluto at Ohio University; William Shakespeare's Macbeth at Three Crows and Ohio University; Tracy Letts' Bug at Ohio University; Stephen Sondheim's Sweeney Todd at DramaTech in Atlanta; Uffizi at Bottled Lightning in Atlanta and Neil Simon's Barefoot in the Park at Vox Populi Productions in Chattanooga.

The 2026 - 2027 Redtwist Theatre season also includes:

SHOW TWO - TO BE ANNOUNCED

January 28 - March 14, 2027

Previews: Thursday, Jan. 28 - Saturday, Jan. 30 at 7:30 p.m.

Opening Night: Sunday, Jan. 31 at 3:30 p.m.

Performance Schedule: Thursdays through Saturdays at 8 p.m. and Sundays at 3:30 p.m. 

Tickets: $50 (seniors and veterans: $35; students: $10 and Fridays are Pay-What-You-Can)

Single tickets go on sale Saturday, Aug. 15

Redtwist Theatre will be announcing the second production at a later date. 

Julius Caesar

April 8 - May 30, 2027

Written by William Shakespeare

Previews: Thursday, April 8 - Saturday, April 10 at 7:30 p.m.

Opening Night: Sunday, April 11 at 3:30 p.m.

Performance Schedule: Thursdays through Saturdays at 8 p.m. and Sundays at 3:30 p.m. 

Tickets: $50 (seniors and veterans: $35; students: $10 and Fridays are Pay-What-You-Can)

Single tickets go on sale Saturday, Aug. 15

“Friends, Romans, Countrymen…” Something’s rotten in the republic. Most people know what happened on the Ides of March, but do they remember what came next? Join Redtwist in a riveting new take on Shakespeare’s classic story of political violence and its consequences. 

Twisted Tuesday New Play Readings

Tuesdays at 7 p.m.

On select Tuesdays, Redtwist welcomes audiences for a new play reading from a variety of Chicago-based playwrights. All readings are Pay-What-You-Can.

One-On-Wednesday

Wednesdays at 7:30 p.m.

For three years, each Wednesday, Redtwist invites unique solo performers to take over its space and bring their singular, edgy perspective to the black box in Edgewater. All performances are Pay-What-You-Can.

Twisted PlayFest

Summer 2027

Returning for its third season, Twisted PlayFest is a new play incubator that provides ongoing play readings and development for aspiring Chicago playwrights. The centerpiece of this initiative is the annual Twisted Play Festival. The festival features ten plays at various stages of development. 

ABOUT REDTWIST THEATRE

Redtwist is an award-winning theatre company that has for 22 seasons staged up close and personal contemporary dramas annually in its intimate black box theatre housed proudly within the heart of Edgewater’s Bryn Mawr Historic District. 

Performances at Redtwist are designed to place the theatre patron in the midst of the stories being told, making them accessible and riveting. Redtwist strives for excellence with every project and endeavors to take risks while offering opportunities for up-and-coming actors, designers and directors to work with established talent. Redtwist provides the very best Chicago storefront theatre experience from excellence on stage, to warm hospitality in a clean, friendly environment.

Award-winning Redtwist Theatre’s new 22nd season, “State of Violence,” begins with Prayer Circle, September 17 - November 8, by Erik Gernand and directed by Executive Artistic Director Dusty Brown at Redtwist Theatre, 1044 W. Bryn Mawr Ave. Preview performances are Thursday, Sept. 17, Friday, Sept. 18 and Saturday, Sept. 19 at 7:30 p.m. Regular performance schedule includes Thursdays through Saturdays at 8 p.m. and Sundays at 3:30 p.m. Single tickets are on sale starting August 15 for $50 (seniors and veterans: $35; students: $10 and Fridays are Pay-What-You-Can) with subscriptions also available at RedtwistTheatre.org. 

Lake Forest's Citadel Theatre has announced the full cast and crew for its season opener - the satirical comedy EUREKA DAY, which examines the frequently contradictory practices of a fictional, highly progressive private school located in Berkeley, California. The play, which premiered in Berkeley in 2018, deals with topical subjects like vaccinations, privilege, and communication, utilizing sharp wit, farce, and intense dialogue to create laughter. It was produced on Broadway in the 2024-25 season and won the 2025 Tony Award for Best Revival of Play. Scott Westerman, the director of such Citadel hits as MISERY, A JUKEBOX FOR THE ALGONQUIN, THE MOUSETRAP, THE CHRISTIANS, and SEX WITH STRANGERS, will direct. 

 
Leading Westerman's cast as Don, a member of the school's board who tries to keep the peace when the debate over whether or not the school should require vaccinations becomes heated, will be Steve McDonagh, who recently earned raves for his performance as "Man in Chair" in Theo Ubique's THE DROWSY CHAPERONE. The school's founder, Suzanne, will be played by Jennifer Ruffner, seen earlier this year in Citadel's ADMISSIONS. Cast as Carina, the parent of a black student at the school, is Alexis Primus, who appeared in TUTA Theatre's THE LONG CHRISTMAS DINNER in 2024 and 2025. Ethan Check, of 2023's GODS AND MONSTERS at Theater Wit, has the role of Eli, a stay-at-home dad. Carmen Liao (Raven Theatre's A DOLL'S HOUSE) will be Meiko – a single mother who deeply opposes vaccinations. Kristin Weed, seen recently on the North Shore in HAIRSPRAY with Uptown Music Theatre, will play Winter – one of the parents on the school's executive committee. Understudies are Jason Clark (u/s/ Don), Amy Yulish (u/s Suzanne), Kristin Weed (u/s/ Carina), Austin Rambo (u/s/ Eli), and Stephanie Fongheiser (u/s/ Meiko).

The production team is Scott Phelps (Producer), Ellen Phelps (Producer), Kate Espinoza (Stage Manager), Bob Knuth (Set Design), Devin Meseke (Scenic Charge), kClare McKellaston (Costume Design), Jodi Williams (Lighting Design), Petter Wahlbäck (Sound Design), Mitchell Pollitt (Master Carpenter), Randy Rozler (Properties Design), Kira Nutter (Intimacy Director), Devon Carson (Assistant Director), Kristin Weed (Run Crew).

Season subscriptions are available for the full four-show season at $140.00, or as flex passes that can be used for the patron's choice of either three shows for $115.00 or two shows for $80.00. Preview flex passes are also available for $45 (two shows), $55 (three shows), or $65 (four shows). Subscriptions and single tickets priced at $50 (plus ticketing fees) are now on sale at www.citadeltheatre.org. 
 
Citadel Theatre is in residence in the West Campus of the Lake Forest School District at 300 S. Waukegan Road, Lake Forest. Further information and ticketing is available on the company's website at www.citadeltheatre.org.

EUREKA DAY
By Jonathan Spector
Directed by Scott Westerman
Friday, September 11 – Sunday, October 11, 2026
(Preview September 9 at 7:30 pm)

Preview ticket prices $27.15 including ticketing fee. Regular run prices $53.40 including  ticketing fee. Discounts available for groups, seniors and students.
Citadel Theatre, located in the West Campus building of the Lake Forest School District, 300 S. Waukegan Rd., Lake Forest, IL.
Tickets available online at www.citadeltheatre.org or by phone at 847-735-8554, ext. 1
 
In this hilarious 2025 Tony Award-winning satire, an elite private school is thrown into crisis when a mumps outbreak divides parents and board members over vaccines. As debates intensify and facts grow slippery, every solution only deepens the conflict. EUREKA DAY asks us to fully recognize the humanity of those we disagree with.

Black Ensemble Theater continues its 50^th Anniversary Season with the world premiere of You Can't Fake the Funk: A Journey Through Funk Music, written and directed by Artistic Director Director Daryl D. Brooks. You Can't Fake the Funk runs September 5-October 25, 2026, at the Black Ensemble Theater Cultural Center, 4450 N. Clark Street in Chicago.

Information and tickets are available at www.blackensemble.org, (773) 769-4451 and at the Black Ensemble Theater Box Office, 4450 N. Clark Street in Chicago. Please note the new curtains times: Fridays at 7:00pm, Saturdays at 2:00 p.m. and 7:00 p.m. and Sundays at 2:00 p.m. Tickets are $69 (fees included). Valet parking is available for $15 (cash only).

Hop aboard the Mothership and take a groovy ride back to the era when Afros were high, bell-bottoms were tight, and the music was truly out of sight! You Can't Fake the Funk: A Journey Through Funk Music is a high-energy, feel-good celebration of the sound that defined a generation. From Sly and the Family Stone to Parliament-Funkadelic to Earth, Wind & Fire, this electrifying production will have audiences dancing in the aisles and testifying to the unstoppable power of the Funk.

The cast is led by Dwight Neal (Dr. Funk) with an ensemble cast including: Vincent Jordan, Britt Edwards, Jaitee Thomas, Miciah Lathan, Jordan Taylor, Darrow Richmond, Darren Patin, Johnathon Lee and Brandon Lavell. The understudies are Blake Reasoner and Kentrell Dawson.

The creative team includes: Founder/CEO Jackie Taylor (producer), Artistic Director Daryl D. Brooks (director, writer), Robert Reddrick (music director), Qiana McNary (associate director), Robin DaSilva (vocal arranger), Christopher Chase Carter (choreographer), Denise Karchewski (lighting and set designer), Robert Kunh (costume designer), Sean Alverez (sound designer), and DJ Douglass (projection designer), Harrison Orneals (technical director), Kristi Martens (Equity stage manager), and Cat Andrade (Equity assistant stage manager).

The live band is: Music Director Robert Reddrick (drums), Adam Sherod (keys), Oscar Brown (guitar), Charles "Chip" DuBose (guitar), Walter Harrington (bass), Mark Allen Felton (sax), Corey Wilkes (trumpet), Bill McFarland (trombone), and Myron Cherry (drum understudy).

The 5-Play Card

Black Ensemble Theatre's 5-Play Card is a digital ticket package unlike any other. At a cost of $280 (including fees), it offers a savings of $65 over regular ticket prices. One of the greatest perks of the 5-Play Card is its flexibility – use the five tickets any way you want! You can: bring five people to one show, treat yourself to five different shows, or use the 5-Play Card in any ticket number combination until all five tickets are spent.

The 5-Play Card is good for 18 months and becomes active immediately after purchasing. If you buy multiple 5-Play Card packages, please note that a maximum of five tickets can be redeemed on a single show date.

The 50^th Anniversary Season continues with:

Jackie Taylor's The Other Cinderella

Written and directed by Founder & CEO Jackie Taylor

Music by Jackie Taylor and Michael Ward
December 12, 2026-January 24, 2027

Opening: Sunday, December 20, 2025

Jackie Taylor's The Other Cinderella is a beloved Black Ensemble Theater classic that has delighted audiences for 50 years.  This joyful African American version of the timeless fairy tale is filled with laughter, soul, and heart. In this story, Cinderella is from the projects, the Stepmamma works at the post office, the Fairygodmama hails from Jamaica, and the Brothers from the Hood keep the kingdom jumpin'!

Overflowing with show-stopping songs, vibrant dancing, and unforgettable characters, The Other Cinderella is a treasured family tradition, and the perfect way to close our 50th Anniversary Season, reminding us to embrace our greatness and follow our spirit!

Black Ensemble will continue with the Plays With A Purpose series for school groups, Black Playwrights Initiative, Soul of a Powerful Woman on June 7, 2026, the free summer outside concert series Fridays on the Green in August, and the annual Gala on October 15, 2026,

About Black Ensemble's Free to Be Village

Construction is underway on the new Studio Theater, the second phase of the visionary Free to BE Village. This intimate space will nurture new work, emerging voices, innovative storytelling, and the next generation of talent. It represents a bold step forward as we continue expanding the artistic possibilities of Black Ensemble Theater.

The Studio Theater, housed on the second floor of the Black Ensemble Cultural Center at 4450 N. Clark St., will be transformed into a 3,150 sq. ft., 150-seat performance space, plus a dance studio/rehearsal room and a dressing room. The Studio Theater was the final project designed by the outstanding late architect John Morris. The Studio Theater will have flexiblility to accommodate at least eight stage and seating configurations and will feature state-of-the-art lighting and sound design.

The inaugural season for the Studio theater will be announced in September or October. It will offer much needed space for new and experimental works, including the works of the Black Playwrights Initiative. The Studio theater will also include musical as well as non-musical stage productions. 

The architect is Morris Architects Planners; John Morris passed away in 2025. The construction administration phase by Seek Design. The contractor is Ujamaa Construction.

Funding for the project is generously provided by City of Chicago Community Development funds; Federal community project funds – Representative Jan Schakowsky and Representative Mike Quigley; Illinois Arts Council; Paul M. Angell Family Foundation; and the State of Illinois DCEO.

Black Ensemble Theater   

Founded in 1976 by acclaimed producer, playwright, and actress Jackie Taylor, Black Ensemble Theater is the only African American theater on the culturally, racially, and ethnically diverse North Side in Uptown. Through its Educational Outreach Programs, Black Ensemble has served more than 10,000 young people. Its Four Play Season of Excellence has captivated audiences locally, nationally, and internationally with outstanding original musicals that entertain, uplift, and bridge cultural divides, reminding us that we are all one. Black Ensemble Theater has produced more than 100 productions and employed more than 5,000 artists.

The mission of the Black Ensemble Theater Company is to eradicate racism and its devastating effects upon society through the theater arts and community engagement.  For more information on the Black Ensemble Theater Company, visit www.BlackEnsembleTheater.org or call 773-769-4451.  

Tin Drum Theatre Company is proud to announce the cast and creative team for Chicago premiere for A Dark Wood, October 15 - November 1, written by Eric Coble and directed by Steve Needham, at Studio 44 in the Greenhouse Theater Center, 2257 N. Lincoln Ave. The preview performance for A Dark Wood is Thursday, Oct. 15 at 7:30 p.m. with the opening night performance Friday, Oct. 16 at 7:30 p.m. The performance schedule is Thursdays and Fridays at 7:30 p.m., Saturdays at 2:30 and 7:30 p.m. and Sundays at 2:30 p.m. The Understudy Performance is Saturday, Oct. 31 at 2:30 p.m. There will be a post-show talk-back with playwright Eric Coble after a select performance date, to be announced. Tickets are $29 with $15 student tickets. Tickets go on sale Tuesday, Sept. 1  at TinDrumTheatre.com or by calling the Greenhouse Theater Company box office at 773.404.7336. 

“The Fix” was supposed to correct everything that had gone wrong with the country. Now, three members of a shattered family, Earthworm, Hummingbird and Armadillo, occupy different corners of a society in free-fall, each surviving in their own way. Earthworm squats in no-man’s land beside his only friend, desperate to cross the river border and begin a new life. Hummingbird hides in a boarded-up apartment, secretly reading books with a fugitive teacher who will do anything to keep both her — and the resistance — alive. Armadillo stands alone in her police armor searching for justice, or perhaps forgiveness. Which of them will make it to Paradise and what will it cost? Does such a place even exist?

A Dark Wood ensemble cast includes Renzo Vicente (he/him, Earthworm), Delaney 

Vallese (she/her, Hummingbird), Marlee Feacher (she/her, Armadillo), Carlos Andrés Mai (he/they, Montrose), Shannon Leigh Webber (she/her, Miss Vivian) and Raúl Alonso (he/him, Dipper).

The creative team includes Eric Coble (he/him, playwright); Steve Needham (he/him, producer/director),  Jason Palmer (he/him, production manager),  Sil Rivera (they/them, stage manager); Will Hughes (he/him, technical director and scenic designer); Kasey Wolfgang (she/her, costume designer); Emma Berry (she/her, lighting designer and master electrician); Zach Stinnett (he/him, sound designer) and Erin Alys (she/her, director of intimacy and movement). 

ABOUT ERIC COBLE, playwright

Eric Coble is an award-winning American playwright whose work spans sharply drawn dramas, audacious comedies and incisive social satire. Born in Edinburgh and raised on the Navajo and Ute reservations of the American Southwest, Coble brings a distinctive blend of wit, empathy and theatrical boldness to the stage.

His plays have been produced across the United States and internationally, including on Broadway, Off-Broadway and at major regional theatres. His Broadway debut, The Velocity of Autumn, starring Estelle Parsons and Stephen Spinella, earned Parsons a Tony Award nomination. Other widely produced works include The Giver (stage adaptation), Bright Ideas, My Barking Dog, Fairfield, The Dead Guy, Natural Selection and Southern Rapture, among many others.

Coble’s scripts have received an ATCA Steinberg New Play Award citation, the Governor’s Award for the Arts (Ohio) and multiple Edgerton New Play Awards. His work has been developed or produced by The Kennedy Center, Playwrights Horizons, Manhattan Class Company, Denver Center Theatre Company, Cleveland Play House, Alliance Theatre, Arena Stage and Actors Theatre of Louisville.

Known for his sharp comic voice and ability to illuminate the tensions and absurdities of contemporary American life, Coble remains a vital presence in the new-play landscape. He is a member of the Playwrights’ Center and a graduate of Ohio University’s MFA program.

ABOUT STEVE NEEDHAM, director

Originally from Cleveland, Ohio, Steve Needham is a founding member of Convergence-Continuum, which is still producing provocative black box theatre for more than 25 years.

In Chicago, Needham has previously worked in various capacities at The Bailiwick Repertory Theatre, About Face Theatre and Pride Films & Plays. He holds a B.A. in theater from Kent State University, a Master’s degree from the University of Chicago and a J.D. from Cleveland State University.

At Tin Drum Theatre, he wrote the company’s inaugural play, Winter Garden about Edwin and John Wilkes Booth, and directed The Unseen by Craig Wright. 

Outside of his artistic pursuits, Needham is an attorney with a litigation firm located in the River North neighborhood.

ABOUT TIN DRUM THEATRE COMPANY

Tin Drum Theatre Company exists to disrupt complacency and reassert theatre’s civic purpose. Creating theatre that asks something of its audience, moving beyond comfort to provoke conversation and critical engagement. Tin Drum believes community begins where audiences and ideas collide, and where dramatic disturbances are created.