Displaying items by tag: live theatre

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), 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.

LISTING INFORMATION

EUREKA DAY

By Jonathan Spector

Directed by Scott Westerman

Friday, September 11 – Sunday, October 11, 2026

(Preview September 9 at 7:30 pm)

Thursdays, Fridays and Saturdays at 7:30 pm, Sunday matinees at 3 pm, Wednesday matinees at 1 pm on September 16 and 30. Understudy performance Wednesday, September 30 at 6:30 pm.

No performances Friday, September 18; Friday, October 2; or Saturday, September 26.

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. 60045

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.

BIOS

Scott Westerman (Director) makes, does, and teaches theatre and film in and around Chicago. At Citadel, he has directed MISERY, A JUKEBOX FOR THE ALGONQUIN, THE MOUSETRAP, THE CHRISTIANS and SEX WITH STRANGERS. Scott is the founding Artistic Director of Go To Productions, a 501©3 nonprofit which develops projects that explore the nexus between theatre and film. He created and directed the web series HAMLET & OPHELIA which won Best Picture at the New York Film Awards, Best Web Series at the LA Film Awards, and Best Mobile Series at the 2022 New Media Film Festival. Scott has directed stage productions for The Artistic Home, ChiArts, City Lit Theatre, Chimera Theatre Company, Citadel Theatre, Beyond This Point, Barter Theatre, Stage Left Theatre, The Smithsonian Institution, American Theatre Company (Bridge), National High School Institute (Cherubs), and Reverie Theatre Company. Scott is a member of the Screen Actors Guild, an ensemble member with The Artistic Home, represented by Gray Talent Group, and a teaching artist with Writers Theatre and The Theatre School at DePaul University. He has an MFA from The Shakespeare Theatre Academy. As an actor, Scott has worked with Chicago Shakespeare Theatre, Lookingglass, Northlight, The Shakespeare Theatre and Ford’s Theatre in DC, Everyman Theatre in Baltimore, the Warehouse Theatre in South Carolina, and the Barter Theatre in Virginia to name a few. On Camera credits include MACHINE GUN PREACHER, PRISON BREAK, and HEIST 88. More about Scott can be perused at www.ScottWesterman.org.

Jonathan Spector  (Playwright) is a Tony Award-winning playwright based in Oakland, California, whose work has been produced on and off-Broadway, regionally and internationally. His plays include EUREKA DAY (2025 Best Revival: Tony Award, Drama Desk Award, Drama League Award & Dorian Award); THIS MUCH I KNOW (Edgerton Award, Glickman Award, BATCC Award); BIRTHRIGHT; BEST AVAILABLE; SIESTA KEY; and GOOD. BETTER. BEST. BESTED. Jonathan’s work has been produced with Manhattan Theatre Club, the Old Vic/Sonia Friedman Productions, Pasadena Playhouse, Hampstead Theatre, Miami New Drama, Colt Coeur, Theater J, Syracuse Stage, Asolo Rep, Aurora Theatre, Marin Theatre and Mosaic Theater, among others. He has been a MacDowell Fellow, Playwrights Foundation Resident Playwright, TheatreWorks Core Writer, Playwrights Center Core Writer, SPACE on Ryder Farm Resident and PlayPenn Haas Fellow. Jonathan is currently under commission with Manhattan Theatre Club, Roundabout Theatre Company and La Jolla Playhouse.

Scott Phelps (Artistic Director) is in his 24th year as the Artistic Director at Citadel. He’s acted in and directed dozens of Citadel productions for over two decades since founding this North Shore theatre in 2002 with his friend and lifelong companion, Ellen. In 2025, Scott co-starred with Ellen in MISERY, and the two played husband and wife in 2023’s THE CHRISTIANS. He has acted/directed in NYC, and in his home state of California; trained as an actor at the Pacific Conservatory of the Performing Arts in Santa Maria, CA; received his BFA from the University of Utah and did an apprenticeship at the Actors Theatre of Louisville. For 18 years Scott worked for a promotional company and raised his three daughters and his son in Lake Forest. Recently he has been taking on the next chapter of his life — the role of “Beepa” to his grandchildren. Although he is unsure if he is old enough to play that part, he’s been enjoying the challenge.

Citadel Theatre is one of Chicagoland’s premier live theatres, producing hundreds of performances annually and inspiring audiences for nearly 24 years. Founded by Scott and Ellen Phelps in 2002, Citadel Theatre is comprised of its Main Stage performances and its theatre acting classes for children. A proud member of the League of Chicago Theatres and the Lake Forest/Lake Bluff ArtsLink, Citadel Theatre offers a unique intimate theatre experience that transports you to another setting and leaves you feeling exhilarated and wanting more. A recognized 501(c)3 non-profit organization, Citadel can accept tax-deductible donations. For more information, ticketing, and to donate, please visit Citadel online at www.CitadelTheatre.org or call 847.735.8554.

Definition Theatre is proud to present How We Got On, a mix-tape for the stage by playwright Idris Goodwin and directed by Tyrone Phillips. How We Got On will play a limited run from September 11– 27, 2026 at Definition Theatre (1160 E. 55th St, Chicago, IL) with previews September 11–12, 2026 and an opening on September 13 at 7:30pm. Tickets are $35 and are on sale now at definitiontheatre.org.

How We Got On tells the story of three suburban teenagers who discovered something that would change their lives forever. It's the 1980’s, and Hank, Julian, and Luann are determined to make their mark on the explosive new world of rap music. Armed with turntables, notebooks, and raw talent, they’ll navigate cultural isolation, family struggles, and fierce competition as they chase their dreams of becoming the next big thing.

But in the suburbs, far from hip-hop's birthplace, they'll have to fight twice as hard to prove they belong. Guided by a sultry DJ, the selector, who spins their stories with wit and wisdom, this electrifying production celebrates the passion, creativity, and determination of the generation that helped build hip-hop from the ground up—one beat, one rhyme, one battle at a time.

The cast features Jamal Turner, Tony Garcia, Anuoluwa T. Awolola, and Definition Ensemble Member Maya Vinice Prentiss.

The production team includes Director Tyrone Phillips, Assistant Director Lucy Whitehead, Production Manager Julie Jachym, Stage Manager Carissa Greene, Scenic Designer Sydney Lynn Thomas, Costume Designer Janelle Smith, Lighting Designer Garrett Bell, Lighting Design Intern Bria Hall, Sound Designer Kyle Cortes, and Movement Designer Breon Arzell.

Running in tandem with the production is The Sound Barriers Vol. 4, an installation of vintage boomboxes, paintings, and photography by Chicago muralist John Vergara. The exhibit is open Monday–Thursday from 5pm–9pm from Monday, September 14 – Thursday, Sept 24, 2026.

Chicago-based artist John Vergara time travels via boomboxes, the ultimate muse, in The Sound Barriers Vol. 4. Immersed in 1980’s Chicago hip-hop, funk, and house music, Vergara's vibrant brushstrokes, paint splatters, and graffiti work embody the movement of sound, while his cityscape photographs and portraits present music as a life form accompanying each person. Vergara has created more than 200 public murals, curated Chicago art shows for over 20 years, and is an advocate for the preservation of historical public art—work that helped lead to the founding of the City of Chicago Mural Registry.

PERFORMANCE DETAILS

How We Got On

Dates: September 11 – 27, 2026

Previews: September 11 – 12, 2026

Location: Definition @ 55th | 1160 E. 55th Street, Chicago, IL

Tickets: On sale now at definitiontheatre.org

EXHIBIT DETAILS

The Sound Barriers Vol. 4 by John Vergara

On View: September 14 – 24, 2026 (concurrent with How We Got On)

Hours: Monday – Thursday, 5pm – 9pm.

Location: Definition @ 55th | 1160 E. 55th Street, Chicago, IL

Admission: Free for How We Got On ticket holders, $15 for General Admission

ABOUT DEFINITION THEATRE

Definition Theatre has been a vibrant force for over a decade, celebrating stories created with, inspired by, and intended for people and communities of color. Through the act of making, Definition expands perspectives, stewards resources, and bridges the possibilities found at the intersection of art, innovation, and education. Known for bold and impactful productions, we’ve brought to life plays by Oscar-winner Tarell Alvin McCraney, Pulitzer Prize-winners James Ijames and Jackie Sibblies Drury, and Tony Award-winner Branden Jacobs-Jenkins. We strive to promote equity, foster empathy, and enhance the quality of life for our community members by offering opportunities for creative, entrepreneurial, and cultural expression. Our work emphasizes collaboration in theater-making and raises awareness of career paths in the arts. In 2024, Definition leased and equipped a storefront space in Hyde Park, enabling us to engage artists and expand programs as we prepare for our permanent home in Woodlawn on the southside of Chicago. This new theater, community center, and business incubator will amplify and preserve BIPOC voices, promote social justice, and empower the next generation of artists, entrepreneurs, and changemakers to drive positive progress through the transformative power of the arts.

Definition Ensemble members include: Adia Alli, Owais Ahmed, Ariel Beller, Jared Bellot, Carley Cornelius, Ari Craven, Julie Jachym, Willow James, Martasia Jones, Slick Jorgensen, Yeaji Kim, Kristy Hall, James Ijames, Julie Jachym, Willow James, Kiki Layne, Kelson Michael McAuliffe, Victor Musoni, Neel McNeill, Sophiyaa Nayar, Karyn Oates, Alexandra Oparka, Julian Parker, Maya Vinice Prentiss, Tyrone Phillips, Ireon Roach, Jacqueline Rosas, Christopher Sheard, and Dujon Smith.

Definition Artistic Advisory Board members include: director May Adrales, Steppenwolf ensemble member Alana Arenas, actress Shannon Cochran, actor Brandon Dirden, actor Jason Dirden, actor Jon Michael Hill, director Pam Mackinnon, Equity Quotient CEO Keryl McCord, professor JW Morrissette, director Ron OJ Parson, professor/lighting designer Kathy Perkins, media producer and host Troy Osborne Pryor, Tony Award-winning actress and stage director Phylicia Rashad, and Goodman Theatre director in residence Chuck Smith. Tyrone Phillips is the Artistic Director, Neel McNeill is the Executive Director, Willow James is the Civic Engagement Director. For additional information, visit definitiontheatre.org and @definitiontheatre on Facebook and Instagram #stayinit

Promethean Theatre Ensemble announced today it will stage the Chicago premiere of BLOOD OF THE LAMB, by Arlene Hutton, a gripping two-woman, Kafka-esque, thriller. In a time about two days from now, Nessa, traveling from LAX to JFK, finds herself diverted to Dallas. Trapped in a room with Val, a lawyer, Nessa just wants to leave on the next plane out. But this is Texas, and Nessa is pregnant and Val is on the phone with legislators who are pulling the strings. BLOOD OF THE LAMB premiered in 2023 at the Edinburgh Fringe Festival, where THE GUARDIAN called the 70-minute intermissionless drama "an acutely tense drama of reproductive rights." It received a 2025 Drama Desk Award Nomination for Outstanding Play for its 2024 off-Broadway premiere in 2024, which BROADWAYWORLD called "an essential must-see show." BLOOD OF THE LAMB will play at Chicago's Den Theatre following previews on September 3 and 4. It will play through October 3.

Anna C. Bahow, an ensemble member with Promethean and an Artistic Associate with Silk Road Cultural Center and the International Voices Project, will direct two alternate casts. Bahow says, "this double casting will allow us to give four great women actors a chance to show their skills in these incredibly challenging  roles that are so pertinent to the pressing concerns of women's reproductive health." One cast will feature Heather Dennis* (title role in PTE's ANTIGONE) as Nessa and Kirsten D'Aurelio as Val, and  the other cast will include Meghann Tabor* (Ismene in PTE's ANTIGONE) as Nessa and Delia Ford (emeritus member of Babes with Blades) as Val.

There will be a press opening for each cast, with Tabor and Ford performing on Saturday, September 5 at 7:30 pm and Dennis and D'Aurelio performing on Sunday, September 6 at 3:00 pm. For the remainder of the schedule, D'Aurelio and Dennis will perform Thursdays and Saturdays, and Tabor and Ford will perform Fridays and Sundays. Tabor and Ford will perform the Thursday, September 3 preview and the Tuesday, September 29 industry night performance, and D'Aurelio and Dennis will perform the Friday, September 4 preview and the Tuesday, September 22 industry night performance.

Tickets are $35 general, $25 students and seniors and are on sale at https://www.prometheantheatre.org or The Den Theatre Box Office, 773-697-3830.

BLOOD OF THE LAMB
By Arlene Hutton
Directed by Anna C. Bahow
September 3 – October 3, 2026
Previews Thursday September 3 and Friday, September 4 at 8 pm 
Regular Run: Thursdays – Saturdays at 8 pm, Sundays at 3 pm. 

Industry Night performances Tuesdays September 22 and 29 at 8 pm
The Den Theatre, 1331 N. Milwaukee Ave., Chicago 60622
Ticket Prices: $35 general, $25 students and seniors

For tickets, visit https://www.prometheantheatre.org or The Den Theatre Box Office, 773-697-3830.
 
A searing drama about bureaucratic chaos in a post-Roe America. When pregnant Nessa's transcontinental flight is diverted to Dallas, she is detained with an unexpected adversary: a court-appointed attorney assigned to represent her baby and decide her future. BLOOD OF THE LAMB is an urgent post-Roe thriller about the choices taken from us—and the choices we can still make.

INTENDED AUDIENCE This production is intended for mature audiences, ages 16 and up. The content explores intense political and medical themes surrounding reproductive rights and medical procedures. 
 
BIOS
 
Arlene Hutton (Playwright) is an alumna of New Dramatists, member of Ensemble Studio Theatre and recipient of a NYFA Fellowship. Her NIBROC TRILOGY includes the first FringeNYC production to transfer Off-Broadway, LAST TRAIN TO NIBROC (NY Drama League Best Play nomination), along with SEE ROCK CITY (In the Spirit of America Award) and GULF VIEW DRIVE (LA Weekly and Ovation Award nominations, 2018 Ovation Award for Best Production at Rubicon Theatre). Other works include ACCORDING TO THE CHORUS, RUNNING, I DREAM BEFORE I TAKE THE STAND, LETTERS TO SALA, THREE SISTERS BRONTË and AS IT IS IN HEAVEN. Her play for young audiences, Happy Worst Day Ever, was commissioned by Cincinnati Playhouse in the Park and was named winner of the 2010 Macy's New Play Prize.
 
Anna C. Bahow (Director) is a member of Promethean Theatre Ensemble. Committed to the development of new work and a diversity of voices she is an Artistic Associate with Silk Road Rising which foregrounds Asian, South Asian, and Middle Eastern artists, an Associate Artist with The International Voices Project which brings plays from around the world in translation to Chicago, and an Associate Artist at Chicago Dramatists. Bahow has received an After Dark Award for her directing, and her productions have received Chicago Jeff Awards for New Work and Use of Multi-Media. She was honored to have served as a Michael Maggio Fellow at the Goodman Theatre, is recipient of a 3ARTS WAVE Grant, and several Illinois and City of Chicago Individual Artist Grants. More about her work can be found at AnnaBahow.com
 
ABOUT PROMETHEAN THEATRE ENSEMBLE
 
Promethean Theatre Ensemble produces and develops ensemble-focused theatre with vibrant language in dynamic and purposeful storytelling. We select a service organization to support and promote with each production, bridging ideas within the play to real-world efforts to address challenges within our communities. Since its founding in 2005, Promethean has produced a body of work ranging from Shakespeare, 19th and 20th Century classics, and new work. The company was in the midst of its 14th season when the pandemic struck. ANTIGONE is Promethean's 36th production.

Carmela misses her papi, because papi is missing some of his papers.

Chicago Children’s Theatre presents Carmela Full of Wishes, a moving ode to family – and dreamers – adapted from the contemporary children’s book by Newbury Award-winners Matt de la Peña and Christian Robinson, the same Newbery Medal and Caldecott Honor winning team behind Last Stop on Market Street. 

Carmela Full of Wishes, a Chicago Children’s Theatre world premiere in 2022, returns to tell a warm, timely, and ultimately hopeful story about a sweet young Latina girl living in a big city who dreams of her dad getting his papers fixed so he can finally come home. 

More relevant than ever, Carmela is the first of four of “greatest childhood hits” Chicago Children’s Theatre is reviving for its 21st birthday season. Full of touching, funny fantasies, the play portrays a little girl’s big city migrant community as a vibrant world of hope and possibility. The Chicago Tribune called it “a heartwarming tale of an exuberant Latina girl that celebrates family, community and hope — perfect themes for young audiences.” f

Public performances are October 25-November 15: Saturday and Sunday at 9:30 a.m. and 11:30 a.m. Press openings are Sunday, October 26 at 9:30 a.m. and 11:30 a.m. Run time is approximately one hour. Carmela Full of Dreams is recommended for ages 6 and up. Schedule exceptions: Show time Saturday, October 25 is 9:30 a.m. only;  Show times Sunday, November 8 are 11:30 a.m. and 2 p.m.  

Single tickets are $42 and go on sale on August 24 at chicagochildrenstheatre.org. Book early, as many shows will sell out. For group discounts, schools, playgroups, birthday parties and scouting groups are encouraged to call CCT Guest Services at (312) 374-8835 or email This email address is being protected from spambots. You need JavaScript enabled to view it..

School groups in particular are encouraged to inquire about Chicago Children’s Theatre’s in-class R.O.A.R. Residencies connected to the world of Carmela Full of Wishes. CCT’s R.O.A.R. (Residencies of Arts and Resilience) program, rooted in trauma-informed activities and conversations, provides opportunities for students to authentically reflect on challenging or stressful situations, gain the tools for sharing with others, self care and self agency in those moments, and promote coping mechanisms, social-emotional expression and resilience. CCT’s R.O.A.R. program was developed in partnership with the Ann and Robert H. Lurie Children’s Center for Childhood Resilience. To inquire, email CCT Director Education Catherine Councell at This email address is being protected from spambots. You need JavaScript enabled to view it..

Chicago Children’s Theatre is a “no shushing” theater. It’s located at 100 S. Racine Ave., at Monroe, in the heart of Chicago's West Loop, minutes from I-90 and I-290, downtown and Ashland Avenue. Free, onsite parking is available on the south side of the building. Free street parking can be found on weekends, or try the Impark parking lot, 1301 W. Madison St.

Finally, if you agree Chicago is the greatest theater city in the world, and that Chicago families deserve an equally great professional children’s theater, purchase a subscription to Chicago Children’s Theatre’s 2026-27 season, on sale now at chicagochildrenstheatre.org. Three more joy-inducing productions follow Carmela Full of Wishes: The Beatrix Potter Holiday Party, Manual Cinema’s Leonardo! A Wonderful Show About a Terrible Monster, and The Very Hungry Caterpillar Show. Packages start at only $35.70 per show. Or, create your own mix-and-match subscription plan to match your child’s age and interests.

Access performances for Carmela Full of Wishes

Sensory Friendly
Saturday, November 7 at 9:30 a.m.

Audio Description and Touch Tour

Sunday, November 8 at 2 p.m.

*To request Audio Description and Touch Tour services, tickets must be purchased three weeks before the performance.

ASL and Open Captions
*To request ASL and/or Open Captions services, tickets must be purchased three weeks before the performance you are planning to attend.

To learn more information, go to chicagochildrenstheatre.org/access_performances or email This email address is being protected from spambots. You need JavaScript enabled to view it..

Metropolis Performing Arts Centre, located in the heart of downtown Arlington Heights, 111 W. Campbell St., is proud to announce the cast and creative team for Ride the Cyclone, September 16 - October 25. Ride the Cyclone is presented with book, music and lyrics by Jacob Richmond and Brooke Maxwell. The Metropolis production is directed by original American cast member Lillian Castillo, and music directed by Carolyn Brady. Previews are Wednesday, Sept. 16 through Friday, Sept. 18 at 7:30 p.m. and Saturday, Sept. 19 at 2 p.m. The regular performance schedule is Thursdays and Fridays at 7:30 p.m. and Saturdays and Sundays at 2 and 7:30 p.m. The performance on Saturday, Sept. 26 at 2 p.m. will be closed captioned and the performance on Thursday, Oct. 8 at 7:30 p.m. will be ASL interpreted. Tickets are now on sale from $25 to $49 at MetropolisArts.com or by calling the box office at 847.577.2121.

In a now-abandoned theme park not so long ago, six teenagers hurtled to their death on the roller coaster The Cyclone. Now, those teens are back from the afterlife, with all of their unlived dreams, potential, hopes, and fears in tow. They grapple with the lives they led on Earth and the choices they made – all except a mysterious and headless girl named Jane Doe, who has no memory of her past. As instructed by a fortune-telling machine named The Amazing Karnak, the teens need to decide who amongst them will receive the gift of returning to their life. As they fight to be the one to return, they realize that life's ups and downs, tragedies and victories, love and loss are all just part of the ride.

An added bonus to the Metropolis production features Director Lillian Castillo. Castillo is the original "Constance" on the world premiere cast recording. She originated the role in the American premiere at Chicago Shakespeare Theater and continued performing in the Off-Broadway, Seattle and Atlanta productions.

The cast of Ride the Cyclone includes Alex Merkel (Ocean); Eric Amundson (Mischa); Eldon Warner-Soriano (Ricky); Diana Marilyn Alvarez (Constance); Dave Honigman (Karnak); Amelia Tam (Jane Doe); Peyton Owen (Noel); Connar Brown Sprenger (U/S Ocean); Eli Blanks (U/S Mischa); Aidan Leake (U/S Ricky); Rylee Michelle (U/S Constance); Ian Rigg (U/S Karnak); Z Mowry (U/S Jane Doe) and Joel D'Aroya (U/S Noel).

Ride the Cyclone's creative team is Lillian Castillo (director); Carolyn Brady (music director); Mandy Modic (choreographer); Angie Miller (scenic designer); Denise Karczewski (lighting designer); Sarah Ramos (sound designer); Rachel Boylan (costume designer); Miguel Ramos (wig and hair designer); Kelli Lawrence (props designer) and Tony Churchill (projections designer).

ABOUT LILLIAN CASTILLO, DIRECTOR

Lillian Castillo is honored to make her professional directorial and Metropolis debut. She is a proud Chicago actor, singer and acting coach who has had the pleasure of performing at many of Chicago's theatrical homes. Her most recent credits include: On Your Feet at Drury Lane Theatre; Titanic, Joseph and the Technicolor Dream Coat, 1776 and In the Heights at The Marriott Theatre; The Music Man at the Goodman Theatre and Comedy of Errors, Taming of the Shrew and of course the American Premiere of Ride the Cyclone at Chicago Shakespeare Theatre. Lillian spent 5 years workshopping Ride the Cyclone and bringing life to Constance Blackwood. She is thrilled to have punched her ticket to take this ride again from a new seat.

ABOUT CAROLYN BRADY, MUSIC DIRECTOR

Carolyn Brady returns to Metropolis after her debut as MD/Piano Conductor in The Wedding Singer this past spring. She operates a Chicagoland and national voice studio where her clients have appeared in the Broadway casts of The Book of Mormon and & Juliet; National Tours of The Book of Mormon and The Prom; NBC's "The Voice" and locally at Drury Lane, Marriott Theatre, Mercury Theater, Music Theater Works, Paramount, Porchlight Music Theatre and more. A four-time nominated music director, she has MD'd for Drury Lane (A Chorus Line, Cinderella, Beautiful: The Carole King Musical, A Christmas Carol), Steppenwolf (Lookout Series), Marriott Theatre (Elephant & Piggie), Paramount School of the Arts (The Lightning Thief, Mean Girls, & Matilda Jr.) and most recently she served as MD and Piano Conductor for Into the Woods at Saugatuck Center for the Arts in MI. She's a proud member of CFM Local 10-208. IG: @carolynbradymusic

ABOUT METROPOLIS PERFORMING ARTS CENTRE
Metropolis Performing Arts Centre is a vibrant cultural hub that enriches the community through inspiring live performances, creative arts education and impactful partnerships. It fosters artistic excellence, cultivates multi-generational connections and offers inclusive experiences that engage and uplift all community members. Located in the heart of downtown Arlington Heights, Metropolis is not just a theatre, it is the cultural pulse of the area, surrounded by premier shopping, dining and nightlife. Metropolis offers a dynamic year-round season of professional theatre, comedy, concerts and cabaret performances along with engaging arts education for ages 3 to 85 years old. Serving more than 65,000 patrons annually from across Chicagoland and beyond, Metropolis plays a pivotal role in the community. It provides arts education programs that support thousands of aspiring young artists, as well as community engagement initiatives like the Third Act Players (musical theatre for thespians over 50), Crescendo Chorus (for singers over 55), Flourish in the Footlights (for young artists with disabilities) and Clearbrook on Cue (for artists with disabilities). Metropolis is proud to partner with local organizations such as Endeavor Health, Arlington Heights Senior Center and Clearbrook. Scholarships are available for students at the School of the Performing Arts to ensure access to the arts for all.

Metropolis Performing Arts Centre, located in the heart of downtown Arlington Heights, 111 W. Campbell St., is proud to announce the cast and creative team for Ride the Cyclone, September 16 - October 25. Ride the Cyclone is presented with book, music and lyrics by Jacob Richmond and Brooke Maxwell. The Metropolis production is directed by original American cast member, Lillian Castillo, and music directed by Carolyn Brady. Previews are Wednesday, Sept. 16 through Friday, Sept. 18 at 7:30 p.m. and Saturday, Sept. 19 at 2 p.m. with a press opening Saturday, Sept. 19 at 7:30 p.m. The regular performance schedule is Thursdays and Fridays at 7:30 p.m. and Saturdays and Sundays at 2 and 7:30 p.m. The performance on Saturday, Sept. 26 at 2 p.m. will be closed captioned and the performance on Thursday, Oct. 8 at 7:30 p.m. will be ASL interpreted. Tickets are now on sale from $25 to $49 at MetropolisArts.com or by calling the box office at 847.577.2121. 

Following multiple sold-out runs, "I Killed Andy Breitbart," the acclaimed 75-minute solo show, written and performed by Pam Dickler and directed by Drew Martin, returns to The Apollo Theater Studio for a limited four-week engagement, Sept. 5-27.  Press opening is 8 p.m. Saturday, Sept. 5. Performances take place Saturday and Sundays through Sept. 27. "I Killed Andy Breitbart" is produced by Dickler and Rob Kolson. 

In 2012, Andrew Breitbart's final blog posting was about Terrapin Theatre's 1998 production of "The Love Song of Saul Alinsky," a play that featured then State Senator Barack Obama on a post-show discussion panel. Breitbart suddenly died that night, and his blog was posted posthumously. What followed was an extraordinary chain of events in which Terrapin's producer became an unlikely target in the far right's effort to derail President Obama's reelection campaign. 

The Chicago Reader calls the play, "smartly crafted and funny." With wit, satire and first-hand perspective, "I Killed Andy Breitbart" explores how easily an ordinary person and a small Chicago theater can be swept into the whirlpool of political divisiveness, disinformation and media amplification. At a moment when questions of truth, public discourse and competing narratives remain at the center of American life, the play offers a timely reminder of the importance of telling our own stories before someone else tells them for us or erases them completely. 

"I Killed Andy Breitbart" premiered to a sold-out 3-show run at Chicago's Solo Sunday in November 2024 before subsequent engagements at The Apollo Theater Studio and the Philadelphia Fringe Festival in 2025. It returned to The Apollo for a
successful May 2026 run and now returns Sept. 5-27 as the country heads into
the midterm election season. 

Says Dickler, "I'm thrilled to bring 'I Killed Andy Breitbart' back to Chicago, where so much of the story happened. The city's theater community has always embraced bold, provocative storytelling and I've been fortunate to be part of it. At a time when some of our history is being whitewashed and books are being removed from libraries, it's become more important than ever for us to share our stories before they're rewritten by others. And believe me, this story is a real doozy." 

Pam Dickler (writer/performer) has been part of Chicago's theater community for more than 35 years enjoying work on both the creative and administrative sides. As founding managing director of Terrapin Theatre, she produced 10 seasons of award-winning world-premieres and directed such plays as "Laurel & Hardy Sleep Together," "The Inspector General" and "From Thought to Finish." With Ifa Bayeza she produced such Chicago premieres as "Passages of Martin Luther King," "What Use Are Flowers," "Undesirable Elements-Chicago," and Bayeza's "Kid Zero." Their premiere of Bayeza's "Amistad Voices" at Chicago Shakespeare Theater was Critic's Pick in the Chicago Tribune and the Chicago Sun-Times. Their creation of The ShoeBox Theater, a subscription series of original plays for very young audiences at the Chernin Center for the Arts, was cited for excellence by the National Endowment for the Arts and the Chicago Arts & Business Council.

Dickler's plays include "Life Defying Acts" (winner, UMass New PlayLab; finalist Inkslinger Playwriting Competition); "Relative Distance"; and the musical "The Little Turtle." Her one-act "Promising" was part of Metropolitan Playhouse's East Village Festival and her comedies "Someone Has to Die Tonight" and "Philbert Meets a Nut" were performed at Stage Left's DrekFest. Her comedy "Life & Death & Crap" was seen last summer in the Durango Arts 10-Min Play Festival, and her comedy "Someone Has to Die Tonight" was at the Hendersonville Theatre in NC in November.  

Dickler was a contributing writer for "The Arab-Israeli Comedy Hour" (Chicago's iO), and she produced/directed Tony-nominee Herb Schapiro's world-premiere of "The Love Song of Saul Alinsky." The post-play panel discussion, featuring then-State Senator Barack Obama, was the focus of Andrew Breitbart's final blog entry, which led to her solo show, "I Killed Andy Breitbart."  

Dickler received her BFA from Syracuse University, where she later served on her college's advisory board. Originally from Bucks County, Pa., Dickler resides in Chicago. She is a proud member of The Dramatists Guild and PEN America. For more information, visit pamdickler.com. 

Drew Martin (director) has worked for more than 35 years in Chicago theater and was Artistic Director of Stage Left Theatre in the 1990s. Among the shows he's directed, 11 have been nominated for, and six honored with, Jeff Awards. He earned a Jeff for directing Stage Left Theatre's "Leander Stillwell" and received a Jeff nomination for "Police Deaf Near Far." His passion for new work is reflected in the many world-premiere productions he has directed.  

Martin graduated from Dartmouth College and studied with the Royal Shakespeare Company. He produces corporate meetings and events nationwide through his company, Polaris Productions. 

Tickets: 

"I Killed Andy Breitbart," written and performed by Pam Dickler and directed by Drew Martin runs Sept. 5-27 at the Apollo Theater Studio, 2550 N. Lincoln Ave.* Press opening is 8 p.m. Saturday, Sept. 5. Performances are Saturday at 8 p.m. and Sunday at 3 p.m. through Sept. 27

NOTE: The Studio is down several steps, so unfortunately is not wheelchair accessible.  

Tickets Range $20-30 (all-in price) (Save by calling the Apollo box office or purchasing at the theater) For tickets call 773.935.6100 or visit ticketmaster.com. For more information
about the production, visit pamdickler.com. 

This play is recommended for ages 16 and up. 

Related Special Events: There will be a post-play discussion after some of the Sunday shows. For more information visit pamdickler.com. 

Metropolis Performing Arts Centre’s new staging of The Wizard of Oz sends audiences down the yellow brick road with a production that balances classic nostalgia with a warm, community centered spirit. Before the story unfolds, it’s worth remembering the legacy behind it: L. Frank Baum’s 1900 novel first introduced readers to Dorothy and the fantastical land of Oz, but it was the landmark 1939 MGM film that transformed the tale into a cultural touchstone. Judy Garland’s performance, the Technicolor world, and the Oscar winning score cemented the story’s place in American imagination. The film’s success inspired decades of stage adaptations, culminating in the Royal Shakespeare Company’s 1987 musical version by John Kane, which became the foundation for most modern theatrical productions, including Metropolis’ interpretation.

Under Tor Campbell’s direction and choreography, the familiar tale unfolds with clear narrative focus: Dorothy Gale’s unexpected journey from Kansas to the magical land of Oz, where she meets the Tin Man, Scarecrow, and Cowardly Lion and joins them on a quest to reach the Emerald City and seek help from the great and powerful Wizard of Oz. Along the way, the group navigates enchanted forests, poppy fields, and the looming threat of the Wicked Witch, discovering courage, heart, and the strength of friendship as their path winds toward home.

This stage version also introduces several comedic moments you won’t find in the classic film, a choice that gives the production a fresh, playful spirit. Campbell sprinkles in light audience interaction, small winks to the crowd, and character specific jokes that open up the world of Oz in ways only live theatre can. These additions never undermine the story’s sincerity; instead, they create a sense of shared fun between the performers and the audience, reminding viewers that Oz is not just magical - it’s delightfully unpredictable when experienced onstage.

While the larger roles across the cast are played with skill and presence, three performers emerge as the evening’s defining performances: Nora Wragg’s Dorothy, Jake Elkins’ Cowardly Lion, and Genevieve Thiers’s Wicked Witch. Wragg stands at the heart of the evening, offering a Dorothy shaped by sincerity, emotional clarity, and a vocal warmth and control that give her songs an effortless lift. Her speaking voice is particularly striking, at times uncannily reminiscent of Judy Garland, deepening the role’s authenticity without ever tipping into imitation. Elkins bursts onto the stage with bold humor and irresistible personality, turning the Cowardly Lion into a crowd-pleasing force of nature. Thiers brings commanding theatrical bite to the Wicked Witch, leaning into the character’s menace with sharp timing, confident presence, and seasoned comedic instincts that add a delicious flair to her villainy.

Nora Wragg as Dorothy Gale and Jake Elkins as Cowardly Lion in THe Wizard of Oz at Metropolis Performing Arts Centre. Nora Wragg as Dorothy Gale and Jake Elkins as Cowardly Lion. Photography by Jennifer Heim.

Around them, Gabriel Fries provides steady, grounded work in his dual roles as the Wizard and Professor Marvel, shifting between Marvel’s warmth and the Wizard’s bluster with ease. David Omari’s Tin Man adds soft vulnerability that complements the ensemble, and Corey Barlow, stepping in for Nolan F. Robinson II as the Scarecrow in the performance I saw, brings relaxed, playful movement and an easy charm that keeps the character loose-limbed throughout. Adding to the production’s appeal is Caliban Marie Spence, a real-life little dog who plays Toto and becomes an instant audience favorite with every appearance, a lovely touch of authenticity that heightens the show’s sense of wonder. Caliban was trained for the role by Danielle Spence, who is delightful onstage as Glinda the Good Witch, exuding kindness, confidence, and the gentle assurance that everything will be all right. Together, these performances guide the audience through Oz with warmth, personality, and a touch of real magic.

Two of the strongest forces pulling Dorothy toward home are the deep bond she shares with her dog Toto - whom she feels is her only true companion on the lonely Kansas farm and is threatened with being destroyed by the stern, vindictive neighbor Miss Gulch, who later appears in Oz as the Wicked Witch of the West - and the steadfast love of her hardworking Aunt Em, who has stepped into the role left vacant by Dorothy’s late mother. The Wizard of Oz is also one of the few films of its era to make a four‑legged companion feel like a true co‑star, and it’s always striking to me how naturally the actors work with Toto and how deeply he’s woven into Dorothy’s emotional world. In many ways, the entire story is set in motion because of him: Dorothy finding her inner self by rescuing Toto.

Metropolis’ use of a lightly trained dog reinforces that bond beautifully, grounding the story in something real and tender. Seeing an actual dog onstage makes the audience instantly understand Dorothy’s desperation to protect him from Miss Gulch’s threat, and her fierce devotion to Toto remains a surprisingly radical idea for a story of its time. He’s the companion who saved her from loneliness, and her determination to keep him safe becomes the catalyst for her entire journey - willing to leave everything she knows behind if it means preserving the friendship, love, and life of her dog. 

As of 2026, animal abuse - especially toward domesticated dogs and cats - remains a heartbreaking problem around the world. That’s part of why stories like The Wizard of Oz still matter: they show a young person treating her pet with genuine love, loyalty, and protection, reminding audiences how powerful and important that bond can be.

Shifting back to the company, Metropolis Performing Arts Centre’s Youth Ensemble brings the Munchkins to life with fun energy and crisp character work- along with other roles played, enriching every scene they step into. Their musical numbers sparkle with bright, unified group vocals, and their choreography is impressively sharp, full of buoyant movement and clean formations that give Munchkinland its joyful pulse.

The production’s technical storytelling reaches an early high point with the tornado sequence, staged with impressive clarity and imagination. Dancers swirl across the stage, waving billowing grey scrims that evoke churning storm clouds, while Forrest Gregor’s sound design layers convincing wind roars, rattling impacts, and atmospheric rumble. Tony Churchill’s projection design adds spiraling debris and sweeping gusts that intensify the chaos, culminating in a striking moment when Alyssa Mohn’s scenic design reveals Dorothy’s house splitting cleanly in half. Once Dorothy lands in Oz, the creative team transforms the stage from plain Kansas farmland into a magical, richly colored world through Sierra Walker’s strategic lighting, Churchill’s dynamic projections, and Theresa Ham’s vivid, whimsical costumes. The projections also allow both the Wizard and the Wicked Witch to appear larger than life, giving their scenes an added theatrical punch that heightens the story’s sense of wonder.

All of this visual ingenuity supports the larger emotional themes at the center of Metropolis’ interpretation. As director Tor Campbell notes, “At its heart, The Wizard of Oz is not about a destination. It is about resilience,” and “After every storm comes the possibility of a rainbow,” a pair of reflections that beautifully frame the production’s spirit and its enduring message.

Danielle Spence as Glinda and Nora Wragg as Dorothy Gale in The Wizard of Oz at Metropolis Performing Arts Centre.

One of the joys of this production is hearing the show’s classic songs delivered with such affection. Metropolis keeps all the musical touchstones that audiences expect, from the sweeping simplicity of “Somewhere Over the Rainbow” (beautifully sung by Wragg) to the buoyant charm of “We’re Off to See the Wizard,” “If I Only Had a Brain,” “If I Only Had a Heart,” and “If I Only Had the Nerve.” The familiar melodies land with an easy warmth, and Sharon Mason’s music direction ensures each number feels both lovingly preserved and freshly energized. Whether you grew up with the film or are discovering Oz for the first time, the score remains one of the production’s most delightful anchors, offering moments of nostalgia, humor, and pure musical joy.

This staging taps into the broad, welcoming appeal that has kept The Wizard of Oz alive for generations, offering a family friendly experience that works just as well for first‑timers as it does for lifelong fans. Young audiences get the magic, color, and adventure, while adults appreciate the faithful storytelling, classic score, and standout character work. With its beloved characters, recognizable songs, and heartfelt performances, Metropolis’ production celebrates courage, companionship, and the reminder that home is never as far away as it seems. Most of all, it rekindles that unmistakable childhood wonder the story has carried for decades, letting audiences feel like kids again as they’re swept up in bright colors, familiar melodies, and the simple joy of watching Dorothy and her friends discover who they are. It’s the kind of show where adults smile at memories they haven’t visited in years and younger audiences fall in love with Oz for the first time, a blend of fun, heart, and theatrical playfulness that sends you out of the theatre lighter than you walked in.

What also stands out in revisiting The Wizard of Oz is how much strength Baum gave his female characters, especially considering the story’s early 20th century origins. Dorothy may be young, but she drives the narrative through her choices, her compassion, and her determination to return home. Glinda’s calm authority and the Wicked Witch’s fierce, commanding presence form a striking contrast - two powerful women shaping the world of Oz in very different ways. Even within a fantasy framework, there’s symbolic weight in that dynamic: Dorothy’s journey becomes a quiet assertion of agency, resilience, and moral clarity at a time when female protagonists were rarely allowed such depth. Metropolis’ production highlights that legacy, reminding audiences that beneath the magic and spectacle lies a story where women hold the narrative’s heart, its danger, and its wisdom.

Audience logistics at Metropolis are refreshingly convenient. A free, multi-level parking garage sits just around the corner, making arrival and departure remarkably easy, and the surrounding streets offer a wide range of restaurants only steps from the theatre for pre- or post-show dining. Inside, the venue’s cozy seating creates an intimate viewing experience, and while the concessions stand offers a fine assortment of drinks, snack options are extremely limited. Patrons may want to bring their own munchies for intermission, though outside food is prohibited inside the theatre, making a quick bite before or after the show the most practical choice.

With the practicalities so thoughtfully handled, what remains is the simple joy of being swept into a world where imagination leads the way. In the end, this Wizard of Oz proves that the road to Emerald City is still paved with imagination, heart, and just enough whimsy to make you believe in magic all over again.

Recommended.

For tickets and more show info, visit https://www.metropolisarts.com/.

Award-winning Refracted Theatre Company is proud to announce the cast and creative team of I’m Gonna Marry You Tobey Maguire, written by Samantha Hurley and directed by Tyler Struble, September 18 - October 31, at the Bookspan Theatre at Den Theatre, 1331 N Milwaukee Ave. Previews are Friday, Sept. 18 at 7:30 p.m., Saturday, Sept. 19 at 7:30 p.m., Sunday, Sept. 20 at 3 p.m. and Wednesday, Sept. 23 at 7:30 p.m. The regular performance schedule is Thursdays - Saturdays at 7:30 p.m. and Sundays at 3 p.m. Tickets go on sale in early August for $12 (previews) - $40, before handling fees, and may be purchased at RefractedCo.com.

To cope with the absence of her father, neglect of her mother and ridicule by her classmates, eighth-grader and president of the Tobey Maguire Fan Club, Shelby Hinkley decides to risk it all for love, kidnap famous actor Tobey Maguire and marry him in her basement. Her fantasies of happily ever after start to crumble as she realizes Tobey may not be the charismatic, heartthrob actor she thinks she knows, while Tobey does everything he can to escape the clutches of his number one fan. A Y2K farce, I’m Gonna Marry You Tobey Maguire is a full-throttle explosion of our para-social relationships and the obsessions that detonate them.

The cast of I’m Gonna Marry You Tobey Maguire includes Alex O’Shea (she/her, Shelby Hinkley), Jasper Johnson (he/him, Tobey Maguire), Lucy Stoole (Ty Huey) (she/her and they/them, Brenda Dee Cankles, Tobey Maguire Poster, Shelby’s Mom, Paparazzi, et al.), Carmia Imani (she/her, U/S Shelby Hinkley), Colin Huerta (he/him, U/S Tobey Maguire) and Felix (they/them, U/S Brenda Dee Cankles, Tobey Maguire Poster, Shelby’s Mom, Paparazzi, et al.).

The creative team includes Tyler Struble (he/they, director); Samantha Hurley (she/her, playwright), Sam Barr (she/her, production manager), M Paige (they/she, stage manager), Tessa Huber (they/them, assistant stage manager), Trenton Jones (he/him, scenic designer), Madeleine Reid (she/her, lighting designer), Angela Joy Baldasare (she/they, sound designer), Madeleine Shows (costume designer), Elly Burke (she/her, props designer), G. “Max” Maxin IV (he/him/any with respect, media designer), Kira Nutter (they/she, intimacy/violence choreographer), Syd Genco (she/her, hair, makeup and wigs designer), Kieran O’Connor (he/him, technical director), Peter Boenish (he/him, projection engineer), David Sajewich (he/him, animation) and Karen Wallace (she/they, master electrician). 

ABOUT SAMANTHA HURLEY, playwright, I’m Gonna Marry You Tobey Maguire

Samantha Hurley is a Maine-raised, Chicago-based playwright and comedy writer. Her first play, I’m Gonna Marry You Tobey Maguire premiered off-Broadway at Nancy Manocherian’s the cell theatre to critical acclaim and a sold-out run. The play had its international debut in London at the Southwark Playhouse. I’m Gonna Marry You Tobey Maguire is published by Concord Theatricals and has been featured in Teen Vogue, Interview and Pleaser magazine. Hurley’s original sketches have been performed at the Upright Citizen’s Brigade Theatre, Brooklyn Comedy Collective, Characters Welcome and the People’s Improv Theatre. Her plays have been developed at the cell theatre, Pocket VR/Theatre L’acadie, Impostor’s Theater, Two Chairs Theatre Company and Avalanche Theatre.

ABOUT TYLER STRUBLE, director, I’m Gonna Marry You Tobey Maguire

Tyler Struble is a director, dramaturg and producer. As a director, they are a frequent collaborator with playwright Samantha Hurley, who they developed with and premiered their play I’m Gonna Marry You Tobey Maguire, Off-Broadway at Nancy Manocharien’s the cell theatre and Off-West End at London’s Southwark Playhouse, both with NYC-based production company Regular People. Recent credits include director for RE(VULVA) (Avalanche Theatre Company), this dry spell (Regular People, New York City, NY), The Quiet Part (Freshly Brewed at The Understudy), Sharon (A Red Orchid Theatre A Taste of Red Series), Edith Can Shoot Things and Hit Them (Kitchen Theatre Company, Ithaca, NY), assistant director for Six Men Dressed Like Joseph Stalin (A Red Orchid Theatre), Aesop’s Fables (Mudlark Theatre) and dramaturg for What The Constitution Means to Me (Hangar Theatre, Ithaca, NY). They served as associate producer at Kitchen Theatre Company in Ithaca, New York before relocating to Chicago.

ABOUT REFRACTED THEATRE COMPANY 

Refracted Theatre Company was started by Co-founders Graham Miller and Tova Wolff in 2019 in New York City. At the time of Refracted’s conception, Miller and Wolff observed a fractured nation, polarized and insular in its political/social motivations, a world inhabited by people deeply distrustful of those with whom they did not share ideological overlap.  Miller and Wolff ventured to create a theatre company that would challenge their audience’s biases, a space to become a mental and emotional fitness center where audiences could use theatre to grapple with the issues/feelings/forces in their lives. They wanted to inspire healthy discourse and empathic discussions, to encourage people to seek nuance and understanding again. 

In Refracted’s first season ever, they were able to produce a Refracted Reading...before everything came to a screeching halt. The pandemic changed the landscape of theatrical engagement in a way Wolff and Miller could never have predicted. But they stuck true to their mission, which seeks not only to provide Refracted content, but also Refracted form. While most theaters shuttered their doors, the co-artistic directors relied on adaptivity and innovation to continue to produce safety driven, live theatrical events that combined audio, immersive and movement theatre. In 2021, Refracted moved from New York to Chicago, where it continues to invite audiences to engage with new forms of storytelling, forms that are sure to upend their expectations. 

In the years since its arrival in Chicago, Refracted has set a new standard for storefront theatre in a city renowned for its theatre scene. In 2023, the company was heralded as a “Rising Star in Storefront Theatre” by NewCity, nominated for the Broadway In Chicago Emerging Theatre Award, had sold out performances, received rave reviews and swept the Joseph Jefferson Awards, winning eight awards for its production of Tambo & Bones by Dave Harris, including Best Production. In 2024, Refracted’s production of Coronation, written by Laura Winters and directed by Tova Wolff, received the most Jeff Non-Equity nominations for a non-musical offering and won three Jeff Non-Equity Awards for lighting Design (Garrett Bell), projection design (Abboye Lawrence) and supporting actor (Jodi Gage). Refracted exists as a space for people seeking to engage the world with nuance, curiosity and empathy. We believe truth is not singular but multifaceted. Like a prism, it reveals its full clarity only when we make space for the spectrum of perspectives that shape it.

Award-winning Refracted Theatre Company is proud to announce the cast and creative team of I’m Gonna Marry You Tobey Maguire, written by Samantha Hurley and directed by Tyler Struble, September 18 - October 31, at the Bookspan Theatre at Den Theatre, 1331 N Milwaukee Ave. Previews are Friday, Sept. 18 at 7:30 p.m., Saturday, Sept. 19 at 7:30 p.m., Sunday, Sept. 20 at 3 p.m. and Wednesday, Sept. 23 at 7:30 p.m., with a press opening on Thursday, Sept. 24 at 7:30 p.m. The regular performance schedule is Thursdays - Saturdays at 7:30 p.m. and Sundays at 3 p.m. Tickets go on sale in early August for $12 (previews) - $40, before handling fees, and may be purchased at RefractedCo.com.

A Red Orchid Theatre, under the artistic direction of Kirsten Fitzgerald, is pleased to announce its 34^th Season, featuring a world premiere adaptation and two Chicago premieres, all exploring the theme of a "world on fire." The season kicks off this fall with the Chicago premiere of Will Arbery's politically-charged drama Heroes of the Fourth Turning, directed by Ensemble member dado. The season continues next winter with the Chicago premiere of Keiko Green's imaginative dark comedy You Are Cordially Invited to the End of the World!, directed by Terry Guest and featuring Ensemble Members dado and Sadieh Rifai. The 34^th Season concludes next spring/summer with a world premiere adaptation of Henrik Ibsen's haunting classic Rosmersholm, adapted by Ensemble Members Steve Haggard and Shade Murray, directed by Shade Murray and featuring Ensemble Members Sherman Edwards, Steve Haggard, Travis A. Knight and Natalie West.

Subscribers are also invited to join A Red Orchid for a revival of last year's sell-out hit Birds of North America, a critically-acclaimed father-daughter drama by Anna Ouyang Moench, directed by Artistic Director Kirsten Fitzgerald and featuring Ensemble Member John Judd with Cassidy Slaughter-Mason.

Artistic Director Kirsten Fitzgerald comments, "There is very little I am certain of these days other than the importance of live theatre. The world is on fire. From the intensely personal to the whole big earth and the ethereal beyond, it is imperative that we challenge ourselves and each other to remain curious in the face of the flames and burning embers. To hold each other up while holding our feet to the fire is the task at hand with every creative endeavor at A Red Orchid Theatre.

When Shade Murray and Steve Haggard shared their curiosity about the challenge of adapting Ibsen anew, the ensemble responded with a resounding 'tell us more!' To be in collaboration with long-admired new-to-us artists such as Will Arbery, Keiko Green and Terry Guest is a huge honor. That each of these artists trusts us with their stories and vision fills me with immense gratitude and pride.

This season you are cordially invited to gather face to face (or shoulder to shoulder), breathe together, experience your own humanity and that of others near and far, interrogate your fears, find joy, stoke your curiosity and rekindle wonder."

Season Subscriptions:

Regular run subscription: $142.50* ($95* preview subscription).

Regular run subscription + Birds of North America: $190* ($142.50* preview subscription).

Season Subscriptions are now on sale at aredorchidtheatre.org  *Pricing includes processing fees

A Red Orchid has also announced Travis A. Knight will be stepping down as the company's Associate Artistic Director, as he heads to Broadway with Paranormal Activity. Knight will remain active as an Ensemble Member, returning for the 34^th Season's final production.

A Red Orchid Theatre's 34^th Season:

October 29 – December 6, 2026

Heroes of the Fourth Turning – Chicago Premiere!

By Will Arbery 
Directed by Ensemble Member dado 

Press Opening: Saturday, November 7, 2026 at 3 pm & 7 pm

It's nearing midnight in Wyoming, where four recent graduates have gathered to celebrate their beloved mentor and professor, Gina, newly inducted as president of their tiny Catholic liberal arts college. The reunion spirals into spiritual chaos, clashing generational politics, and a vicious fight to be understood. Offering grace and disarming clarity, this haunting play speaks to the torn heart of a country at war with itself.

February 4 – March 14, 2027

You Are Cordially Invited to the End of the World! – Chicago Premiere!

By Keiko Green 
Directed by Terry Guest 
Featuring Ensemble Members dado and Sadieh Rifai

Press Opening: Saturday, February 13, 2027 at 3 pm & 7 pm

Since Greg's terminal diagnosis, he's felt a deep connection to the Earth—and to save himself, he'll need to save the planet. Viv desperately wants to savor every last minute with her husband. Meanwhile M, our emcee, searches desperately to find meaning in the chaos of their final year with Dad. A heartfelt family story and joyful theatrical event, as magical as the world itself. 

May 6 – June 13, 2027

Rosmersholm – World Premiere Adaptation!

By Henrik Ibsen 
Adapted by Ensemble Members Steve Haggard & Shade Murray 
Directed by Ensemble Member Shade Murray 
Featuring Ensemble Members Sherman Edwards, Steve Haggard, Travis A. Knight and Natalie West 

Press Opening: Saturday, May 15, 2027 at 3 pm & 7 pm

A reimagining of Ibsen's masterpiece in which hard truths, wild rumors and the supernatural slowly become indistinguishable from one another. 

Former pastor John Rosmer is wrestling with the cryptic circumstances of his wife's death, a fractured political climate fueled by toxic rumors churned by a tabloid press, and his own reckoning with God. By his side is the idealistic, young graduate student Rebecca West, who shall prove to be either his salvation or his mortal undoing...

And we haven't even gotten to all the ghosts. 

Season Add-On:

September 10 – October 4, 2026

Birds of North America

By Anna Ouyang Moench
Directed by Artistic Director Kirsten Fitzgerald
Featuring Ensemble Member John Judd with Cassidy Slaughter-Mason

Press Opening: Thursday September 10, 2026 at 7 pm.

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. 

About the Artists:

Will Arbery (Playwright, Heroes of the Fourth Turning, he/him) is a playwright and screenwriter from Texas. His play Heroes of the Fourth Turning premiered at Playwrights Horizons in 2019 and was a Pulitzer Prize finalist and the winner of an OBIE, Lucille Lortel and New York Drama Critics Circle Award, among other honors. It was named one of the "new canon" plays by American Theatre. Other plays include: You Hateful Things (upcoming London premiere), Spite House (upcoming New York premiere), Corsicana (Playwrights Horizons), Evanston Salt Costs Climbing (The New Group), Plano (Clubbed Thumb) and Wheelchair (3 Hole Press). He was the recipient of a Whiting Award in 2020. Will wrote on the fourth season of Succession, for which he won the WGA Award for Episodic Drama. He is the creator of two upcoming shows with FX: Seven Sisters (starring Elizabeth Olsen) and The Marriage Plot (starring Sadie Sink). Texas Monthly flagged him as one of the most influential cultural figures of the past 50 years out of Texas, and The New Yorker has called him the playwright of the moment.

dado (Director, Heroes of the Fourth Turning, she/her) last directed the world premiere of JoJo Jones' Veal at A Red Orchid, and before that Six Men Dressed Like Joseph Stalin by Dianne Nora. In 2025 dado directed Lobster by Kallan Dana for the Wirtz Center at Northwestern and Dance Nation by Clare Barron for UIC, where she currently serves on the faculty. Other projects dado has directed are Revolt. She Said. Revolt Again. by Alice Birch with The Feast Collective, Right Now by Catherine Anne Toupin (Facility Theatre), Anny Ouyang Moench's In Quietness at A Red Orchid and The Lover by Harold Pinter (with Yasen Peyankov at Facility Theatre). She has also directed The Ruse of Medusa by Erik Satie (Facility Theatre) and Killing Game by Eugene Ionesco (A Red Orchid). Next spring she will direct The Cherry Orchard for UIC's mainstage. 

Keiko Green (Playwright, You Are Cordially Invited to the End of the World!, she/her) is a playwright, TV writer and performer based in Los Angeles. Plays include: You Are Cordially Invited to the End of the World! (South Coast Rep; Oregon Shakespeare Festival; Company One), Empty Ride (Old Globe), Exotic Deadly: Or the MSG Play (Old Globe; SF Playhouse; Porkfilled Productions), Hells Canyon (Theater Mu; WET), Gorgeous (Raven Theatre/Rivendell), The Bed Trick (Seattle Shakespeare Co; Artists Repertory Theatre), Sharon (Cygnet Theatre) and Hometown Boy (Actors Express; Seattle Public Theater). Her plays have been developed at the Kennedy Center, the National New Play Network, Playwrights Realm, Ensemble Studio Theatre, Seven Devils and twice by the O'Neill National Playwrights Conference. Awards/Honors: LA Critics Circle (Ted Schmitt Award), Susan Blackburn Prize Finalist, Kilroys' List, San Diego Critics Circle Award (Outstanding New Play), Gregory Award (Outstanding New Play). She holds commissions from Atlantic Theatre Company, Signature Theatre (DC), Seattle Rep/South Coast Rep. Current/Past Affiliations: Old Globe Resident Artist, Geffen Writers Group, Chance Resident Playwright, Theater Mu's Mu Tang Clan, Seattle Rep Resident Writers Group, ACT Core Company Member. TV: AppleTV's "Margo's Got Money Troubles" and Hulu's Interior Chinatown. BFA: NYU Drama–Experimental Theatre Wing, MFA: UCSD Playwriting. IG: @keikothegreen 

Terry Guest (Director, You Are Cordially Invited to the End of the World!, he/him) is a four-time Jeff Award winning playwright, actor, director and teaching artist. Works include: OAK, At The Wake of a Dead Drag Queen, The Magnolia Ballet, A Ghost in Satin (Williamstown Theater Festival), Marie Antionette and the Magical Negroes, Nightbirds (Goodman New Stages Residency), Andy Warhol Presents the Cocaine Play and Milo Imagines the World. He is a Joyce Award, Jeff Impact Fellowship and National New Play Network Best New American Play award winner, two-time Goodman New Stages resident and Hermitage Fellow. IG: @terryexplainsitall

Steve Haggard (Adapter/Cast, Rosmersholm, he/him) is an actor and writer based in New York City. He's performed at A Red Orchid in 33 to Nothing, 3C, The Aliens, Accidentally Like a Martyr, Sender and The Mutilated. He recently ended a three year run on Broadway as Harry Potter in Harry Potter and the Cursed Child. His Chicago acting credits include many shows at Writers Theatre, Chicago Shakespeare, Timeline, Northlight, Rivendell, Steppenwolf and American Players Theatre. He is a graduate of DePaul University and a proud member of the A Red Orchid ensemble.   

Shade Murray's (Adapter/Director, Rosmersholm) first directing project at A Red Orchid was Kimberly Akimbo followed by Abigail's Party, Butcher of Baraboo, Aliens, Mud Blue Sky, Accidentally Like a Martyr, Pilgrim's Progress, Sender, 3C, Evening at the Talk House, Small Mouth Sounds and Grey House. He is currently a psychotherapist at Thrive Psychology in St Joseph, MI. 

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 33 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.  

Sponsor Information: 

A Red Orchid Theatre remains grateful for the support of our board, donors and loyal audience who continue to champion our ambitious and powerful storytelling. These sponsors help to create a platform for our talented Ensemble to reach new audiences, and ensure that we remain a source for honest, compassionate, and aesthetically rigorous theatre-making. 

A Red Orchid Theatre's 34^th Season is sponsored by The Bayless Family Foundation and Heidi Hoblit Graham. The return engagement of Birds of North America is sponsored by Zell Family Foundation (Lead Production Sponsor) and Northern Trust (Production Sponsor). Heroes of the Fourth Turning is sponsored by Terrance and Carol Coleman and Dawn and Jim Kink.

Interested in sponsoring a production? By partnering with us as a sponsor, you will help to take our work to the next level of artistic excellence, while also receiving deeper access to our artists and the creative process. To learn more, please contact Development Director Stephanie Shum at This email address is being protected from spambots. You need JavaScript enabled to view it. or (312) 943-8722.