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

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

MORE FROM OIL LAMP THEATER:

I Love You Because

August 14 – September 13, 2026

Book and Lyrics by Ryan Cunningham

Music by Joshua Salzman

Directed by Scott Shallenbarger

Music Directed by Aaron Kahn

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

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

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

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

Dial M for Murder

October 2 – November 1, 2026

Adapted by Jeffrey Hatcher from the original play by Frederick Knott

Directed by Daniel King

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

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

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

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

It’s A Wonderful Life: A Live Radio Play

November 20 - December 27, 2026

Adapted by Joe Landry

Directed by Becca Holloway

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

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

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

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

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

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

ABOUT OIL LAMP THEATER

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Full cast and production team have been announced for City Lit's season-opening production of SHANE, Mark Pracht's World Premiere adaptation of the classic Western novel by Jack Schaefer. The story, which richly depicts the transition of the American frontier from individualism to community, has been an enduring favorite ever since the novel's publication in 1949 and its 1953 Academy Award-winning film adaptation. Pracht, a Jeff Award-nominated writer (for his play THE HOUSE OF IDEAS, produced by City Lit in 2024) and one of City Lit's first class of Artistic Associates, will direct. SHANE will play through Sunday, October 4.
 
Michael B. Woods, a Jeff Award winner for Performer in a Principal Role - Play for his title role in BoHo Theatre's  2018 production of CYRANO, will take on the title role of the mysterious outsider who rides into a Wyoming Valley and takes a job as a farmhand. The homesteading family who hires him – Joe and Marian Starrett and their son Bob – will be played by Josh Odor, Whitney Minarik, and Bruce Holtman. Odor won a Jeff Award earlier this year as Performer in a Supporting Role – Play (Short Run) for his performance as the villainous father in the American Premiere of GANGSTA BABY with Open Space Arts. In SHANE, he will play the much kinder father and husband Joe. Minarik has appeared in NETWORK and THE TRAGEDY OF MACBETH with Invictus Theatre. Holtman was last seen at City Lit in SHERLOCK HOLMES AND THE CHRISTMAS CLOWNS and also appeared in Theo Ubique's THE BEST LITTLE WHOREHOUSE IN TEXAS. City Lit Artistic Associate Sean Harklerode, whose City Lit work includes roles in NIGHT OF THE HUNTER, MURDER IN THE CATHEDRAL, and all three entries in THE FOUR-COLOR TRILOGY, will play Fletcher – the cattle baron who tries to scare the Starretts off their land. The ruthless professional gunslinger Stark Wilson, who threatens to kill the homesteaders who refuse to leave, will be played by Jay Donley, whose experience with violence includes creating fight and intimacy design for Chicago productions as diverse as CAROUSEL (Music Theater Works) and ANGELS IN AMERICA (Invictus).
 
Also in Pracht's SHANE cast are Brandon Boler (Ernie Wright), Ross Childs (Curly), Chuck Munro (Grafton), Frank Nall (Shipstead), and Andrew Pappas (Chris). Understudies are Anthony Augustin (Curly/Shipstead U/S), Marshall Kious (Joe Starrett/Fletcher U/S), Zach Kunde (Grafton/Wright U/S), Payton Nesci (Bob/Chris U/S), Chase Wheaton-Werle (Shane/Ledyard-Wilson U/S), and Mary Eliza Willingham (Marian Starrett U/S).

The SHANE production team will include Jeremiah Barr (Scenic Designer/Technical Director), Beth Laske Miller (Costume Designer), Petter Wahlbäck (Sound Designer/Composer), Josiah Croegaert (Lighting Designer), G. "Max" Maxin IV (Projection Designer), Jim Terry (Projection Artwork), Jeff Brain (Props Designer), Vic Bayona and Richard Gilbert of R & D Choreography (Violence Designers), Courtney Abbott (Intimacy Director), Michael Lesko (Stage Manager), Leigh Barrett (Assistant Director), Mateo Gutierrez   (Production Manager).
 
All performances will be at City Lit Theater, 1020 W. Bryn Mawr Avenue, Chicago, on the second floor of the Edgewater Presbyterian Church. City Lit Season 46 subscriptions are available at $112.00, good for all performances, or $88.00 for preview performances. Subscriptions may be ordered online at www.citylit.org or purchased over the phone by calling 773-293-3682. Single tickets for Season 46 are priced at $32 for previews and $40 for regular performances and are on sale now. Senior prices are $5 off the applicable ticket prices. Students and active military are $22.00 for all performances.

SHANE 
Based on the novel by Jack Schaefer
Adapted and directed by Artistic Associate Mark Pracht 
World Premiere Adaptation of the classic Western. 
August 21 - October 4, 2026
Previews August 21 – 28, 2026
Regular run August 29 - October 4, 2026
Fridays and Saturdays at 7:30 pm, Sundays at 3 pm

Plus two Mondays, September 21 (Understudy show) and September 28 at 7:30
Tickets $32 for previews and $40 for regular performances. Seniors $5.00 off all prices. Students and active military are $22.00 for all performances. Groups are $30 per person. Prices include all fees and taxes.
Tickets available online at www.citylit.org or by phone at 773-293-3682.
All performances at City Lit Theater, 1020 W. Bryn Mawr, on the second floor (accessible via elevator) of the Edgewater Presbyterian Church.
 
In this World Premiere adaptation of the classic western, Shane, a mysterious stranger, shows up at the Starrett homestead in the Wyoming Territory in 1889. Though he seems to be hiding a dangerous past, he's offered a job as a farm hand and settles in with the Starretts: Joe, his wife Marian, and his son Bob, our narrator. When Joe refuses to sell his land to open range rancher Fletcher, it sets up a deadly showdown that alters the fates of everyone involved. 

PrideArts' 2026-27 season will open in August with the world premiere of Chicago-based playwright Matt Schutz's WINDOWS, a comedy of LGBT Gen Z-ers finding their ways through career and relationship challenges. WINDOWS was developed through PrideArts' Queery Playwrights Lab, in which 33 scripts with an LGBTQ focus were submitted for consideration and six were selected for further development. Scenes from those six scripts were performed publicly, and with the audience's help, WINDOWS was chosen for this full production, to be directed by with QUEERY Festival Director Taylor Pasche. WINDOWS will play through August 23 in the Hoover-Leppen Theatre at Center on Halsted, 3656 N. Halsted, Chicago.
 
Pasche announced the cast and crew for WINDOWS today. Playing Olivia, a once-promising soccer player recovering from a career-ending injury who spends her days watching her neighbors and imaging what might be going on in their lives, will be Lucabella Sangin. Sangin is a recent BFA graduate of Emerson College in Boston making her Chicago debut. Olivia's partner Natalie, who is frustrated with her part-time job at a furniture store, will be played by Vinita Dixit. Dixit is another recent arrival to Chicago, having earned her BFA from Southern Methodist University in Dallas. In Chicago, she has performed with Theatre Momentum and the queer sketch comedy group Fun House. The third member of WINDOW's trio of GenZ-ers is Natalie's roommate Clay, who is hoping to receive a long-awaited job promotion and is conflicted about his feelings toward the ex-boyfriend who has unexpectedly reentered his life. River Ruiz, a theatre and screen actor from Humboldt Park whose credits include understudying the title role in LOBBY HERO with Shattered Globe Theater and the Netflix series EASY, will be Clay.
 
Playing multiple roles as the neighbors this trio observes, and others, are David Lipschutz and Ashley Kramer. Lipschutz's credits include productions by Hell in a Handbag, Kokandy, Broken Nose, Victory Gardens, and Black Button Eyes, most recently as the understudy for the sole role of the one-actor play ST. NICHOLAS.  Kramer is a recent BFA graduate of the University of Michigan making her Chicago acting debut. Understudies are Claire Thompson (u/s Olivia), Colin Callahan (u/s Clay and Actor 1), and Elyssa Treviño (u/s Natalie and Actor 2).

The production's designers are Hayley E Wallenfeldt (Scenic Designer), Emily N. Brink (Costume Designer), Lea Davis (Lighting Designer), Valerio (Val) T. Gardner (Sound Designer), Maddi Waneka (Props Designer), and Paulina Martz (Intimacy Director). Also on the production team are Corbin Paulino (Stage Manager), Inaija Butler (Production Manager), Reese Sheldahl (Technical Director), and Eve Pahoresky (Assistant Stage Manager). 
 

WINDOWS
By Matt Schutz
WORLD PREMIERE
Directed by Taylor Pasche
August 7 - 23, 2026
Previews Friday, August 7 at 7:00 pm and Sunday, August 9 at 3:00 pm
Thursdays – Saturdays at 7:00 pm, Sundays at 3:00 pm
Hoover-Leppen Theatre in Center on Halsted, 3656 N. Halsted, Chicago 60613
Tickets $35 for regular performances, $25 for previews. Seniors and students receive a $5 discount off all performance prices. Tickets and more information at www.pridearts.org.
773-661-0770
 
Olivia is a former soccer player still recovering from a career-ending injury. Her girlfriend, Natalie, is stuck in a job she's not passionate about, caught between finding her own happiness and caring for Olivia's. Meanwhile, Natalie's roommate Clay is trying to take the next step in his life – towards a new promotion, away from a past relationship, and into his own power. As all three maneuver through the ever-present reality of Olivia's injury, they find escape however they can.

Following a critically-acclaimed, sell-out run of Just For Us at Steppenwolf Theatre and around the globe, Tony and Emmy Award-winning comedian Alex Edelman returns with another hilarious and thought-provoking dissection of identity: What Are You Going to Do, playing five performances only August 12 – 16, 2026 in Steppenwolf's Downstairs Theater, 1650 N. Halsted St. in Chicago. Tickets ($54* – $94*) are now on sale at steppenwolf.org or by calling the Box Office at (312) 335-1650. *includes $10 processing fee

This all-new show finds the Bostonian sweetheart asking different and more unsettling questions. Primarily, should he spend his time doing something else? Should he be saving lives like his physician father? Should he be trying to return to the sense of community he experienced growing up among Israelis and Palestinians? In a show that reckons with the effects of time spent in trauma, Edelman deftly weaves in and out of examinations of faith broadly – not just Judaism – and wonders if, perhaps, there might be better things out there for him.

Performance Schedules:

Wednesday, August 12 at 7:30 pm
Thursday, August 13 at 7:30 pm
Friday, August 14 at 7:30 pm
Saturday, August 15 at 7:30 pm
Sunday, August 16 at 3 pm

Artist Biography:

One of the most critically hailed comedians of his generation, Alex Edelman is best known for solo shows that blur the line between his stand-up comedy roots and narrative-driven storytelling. His last offering, Just For Us, played more than 500 performances all over the world - including acclaimed runs off- and on-Broadway. It premiered as an HBO original comedy special in April of 2024, earning him a place on the Time 100 list, a Tony Award and an Emmy Award for Best Writing for a Variety Special. Edelman appeared in Jerry Seinfeld's directorial debut for Netflix, Unfrosted. Beyond stand-up, he writes regularly for TV and can be seen starring in Peacock's The Paper, a Greg Daniels-helmed spiritual successor to The Office. He also writes on the show as a Consulting Producer. 

Accessibility:

Steppenwolf is committed to making the theatergoing experience accessible to everyone. Assistive listening devices are available for every performance and all our spaces are equipped with an induction hearing loop. Our building features wheelchair accessible seating and restrooms, push-button entrances, a courtesy wheelchair and all-gender restrooms, with accessible counter and table spaces at our bars. For additional information regarding accessibility, visit steppenwolf.org/access. If you have questions or would like to make a specific request, email This email address is being protected from spambots. You need JavaScript enabled to view it. or call our box office at (312) 335-1650.

Sponsor Information: 

United Airlines is the Official and Exclusive Airline of Steppenwolf. Steppenwolf is also grateful for the significant season support from lead sponsors Allstate Insurance Company, Paul M. Angell Family Foundation, Bloomberg Philanthropies, Crown Family Philanthropies, Caroline and Keating Crown, Julius Frankel Foundation, Lefkofsky Family Foundation, Northern Trust, Anne and Don Phillips, John Hart and Carol Prins, Shubert Foundation, Inc, Walder Foundation, and Zell Family Foundation. Steppenwolf also acknowledges generous support from premier sponsors Anonymous, Andrew and Amy Bluhm, Michael and Cathy Brennan, Ann and Richard Carr, Chicago Community Trust, Conagra Brands Foundation, Rich and Margery Feitler, FROST CHICAGO, John D. and Catherine T. MacArthur Foundation, The Orlebeke Foundation, Polk Bros. Foundation, Sacks Family Foundation, Harold and Mimi Steinberg Charitable Trust, Thoma Bravo and Bryan Traubert and Penny Pritzker. Steppenwolf also acknowledges support from the Illinois Arts Council and the City of Chicago Department of Cultural Affairs and Special Events.

About Steppenwolf Theatre Company:

Steppenwolf Theatre Company is the nation's premier Ensemble Theater with 50 members who are among the top actors, playwrights and directors in the field. Thrilling, powerful, groundbreaking productions have made this theatre legendary. From the early phenomenon of Balm in Gilead, to The Grapes of Wrath, August: Osage County, Downstate, The Brother/Sister Plays, and more recently, the Pulitzer Prize and Tony Award-winning Purpose, Steppenwolf Theatre has had a long-running and undeniable impact on American Theatre and Chicago's cultural landscape. Founded in 1974 by Terry Kinney, Jeff Perry and Gary Sinise, Steppenwolf started as a group of friends in their teens and early 20s performing in the basement of a school in Highland Park, Illinois. Today, the company's artistic force remains rooted in the original vision of its founders: an artist-driven theatre, whose vitality is defined by its appetite for bold and innovative work. Every aspect of Steppenwolf is rooted in its Ensemble ethos, from the intergenerational artistic programming to the multi-genre performance series LookOut, to the nationally recognized work of Steppenwolf Education and Engagement which serves nearly 15,000 teens annually. While grounded in the Chicago community, more than 40 original Steppenwolf productions have enjoyed success nationally and internationally, including Broadway, Off-Broadway, London, Sydney, Galway and Dublin. Steppenwolf also holds accolades that include the National Medal of Arts, 14 Tony Awards, two Pulitzer Prize-winning commissions and more. Led by Artistic Directors Glenn Davis and Audrey Francis, Executive Director E. Brooke Flanagan and Board of Trustees Chair Keating Crown — Steppenwolf continually redefines the boundaries of live theater and pushes the limits of acting and performance.

Steppenwolf's Mission: Steppenwolf strives to create thrilling, courageous and provocative art in a thoughtful and inclusive environment. We succeed when we disrupt your routine with experiences that spark curiosity, empathy and joy. We invite you to join our ensemble as we navigate, together, our complex world. steppenwolf.org, facebook.com/steppenwolftheatre, twitter.com/steppenwolfthtr and instagram.com/steppenwolfthtr.

John Mulaney didn’t just perform at Wrigley Field. He made history there. In a venue synonymous with baseball legends, rock icons, and century-old Chicago lore, Mulaney became the first comedian ever to headline a full stand-up show at Wrigley Field, and, depending on which version of the truth you prefer, possibly the largest live audience for a comedian in history. Whether or not the record is airtight, the scale of the night was undeniable. Chicago turned out in force for one of its own.

A New Chapter: The Mister Whatever Tour

Mulaney’s Mister Whatever tour marks a tonal shift from the raw confessionals of Baby J. Where that show dissected his intervention, addiction, and the wreckage of his personal life, Mister Whatever leans into the absurdity of middle age, fatherhood, and domestic unpredictability. The storytelling remains fast, sharp, and unmistakably Mulaney, but now filtered through the lens of a man navigating toddlers, in-laws, and the strange mundanity of being a grown-up with a past.

Family Life and Fatherhood: Comedy in the Trenches

Mulaney’s material about family life is some of his richest yet, especially when he dives into the sprawling constellation of his new in-laws. Marrying into Olivia Munn’s Vietnamese-Chinese family gives him endless fodder, and he mines it with precision: overbearing relatives, cultural misunderstandings, and the kind of familial chaos that feels both universal and deeply specific. He even slips into a Vietnamese accent, a move he preemptively defends by insisting he has “earned the right” because they are his actual family now. It’s classic Mulaney: self-aware, slightly provocative, and delivered with a wink.

His bits about raising two toddlers are equally sharp. He compares dealing with a three-year-old to working in a toxic workplace, complete with unreasonable demands, emotional volatility, and a boss who has no concept of time. The late-night meltdowns, the negotiations over snacks, the existential exhaustion of parenting: he turns it all into a comedic autopsy of modern fatherhood.

And then there is the “wallet allowance,” a running gag about his post-rehab financial oversight. According to Mulaney, his wife and even bank cashiers treat him like a teenager with limited privileges. It’s a sly, self-deprecating way of acknowledging his past without dwelling in it.

Absurd Observations and Pop Culture: Mulaney’s Sweet Spot

Where Mulaney truly thrives is in the absurdity of everyday grievances, and his extended rant about modern $1,000 drying machines is a highlight of the night. He builds an entire comedic architecture around the decline of appliance quality: how dryers now seem designed to not dry clothes, how they beep like needy robots, how they offer dozens of settings but none that actually work. It’s the kind of bit only Mulaney can stretch into a full routine, turning a mundane annoyance into operatic frustration.

His pop culture and political impressions land just as hard. His RFK Jr. impression is a showstopper: wild, unhinged, and delivered with a kind of manic sincerity that had the stadium roaring. He skewers billionaires, public figures, and the bizarre circus of current events with the same blend of sharpness and silliness that has always defined his best work.

And then comes one of the night’s funniest detours. His bit about being possessed by Satan, specifically how Satan always does it the exact same way, with someone jolting upright in bed and unleashing a string of profanity, becomes one of the night’s sharpest and most ridiculous highlights. It’s pure Mulaney: theatrical, absurd, and delivered with the timing of a performer who knows exactly how long to let a joke breathe before landing it.

A Chicago Homecoming with Legendary Guests

What made the night feel truly monumental were the surprise guests, each adding their own flavor to the celebration.

Buddy Guy, Chicago blues royalty, took the stage and tore into a couple of songs, including a blistering rendition of “Sweet Home Chicago.” Seeing Buddy Guy at Wrigley Field would be a thrill on its own. Seeing him as part of a John Mulaney comedy show felt like a surreal Chicago fever dream.

Fred Armisen followed with a brilliantly odd set that blended music and comedy. Switching between guitar and drums, he delivered the kind of deadpan, musically infused humor that only Armisen can pull off. It was weird, delightful, and perfectly calibrated for a stadium crowd.

Richard Kind served as a sort of comedic emcee, popping in with jokes, introductions, and the warm, slightly bewildered charm that makes him such a beloved character actor. His presence added a theatrical looseness to the night.

And then, in a moment that felt like a benediction, David Letterman stepped out to introduce Mulaney. Letterman may be from Indiana, but in Chicago terms, that is close enough. His dry, understated introduction gave the night a sense of occasion, like a passing of the comedic torch from one generation to the next.

A Night That Felt Bigger Than Comedy

What made Mulaney’s Wrigley Field show remarkable wasn’t just the scale, or the guests, or the historic firsts. It was the sense of homecoming. Mulaney performed with the confidence of someone who knows the city in his bones: its rhythms, its humor, its contradictions. The stadium setting didn’t dilute his intimacy. It amplified it. His storytelling reached throughout the Friendly Confines without losing its specificity.

In a venue built for legends, Mulaney delivered a night worthy of the space.

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

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

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

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

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

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

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

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

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

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

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

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

Recommended.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

It is possible that Oak Park Festival Theatre’s production of Oscar Wilde’s 1895 “trivial comedy for serious people,” The Importance of Being Earnest, was suffering from some opening night jitters and that the actors will settle in and trust the verbal comedy in the script, but on this beautiful evening under the stars, there was too much mugging and nudging going on. Nevertheless, Wilde’s play, about two young men, Algernon (August Forman) and Jack (Chad Bay), who have both invented alibis - Algernon an invalid friend named Bunbury in the country and Jack a degenerate younger brother in town--to allow them to indulge their socially questionable whims, leading to the difficulty of having to explain why neither is Ernest, is still funny. And, despite the excesses on display, this staging still holds many delights for fans of Wilde, verbal comedy, and, particularly in the second act, some smartly choreographed slapstick. What is missing from much of the evening is earnestness. Many of the actors seemed to be in search of motivation and the stakes that propel them through this admittedly effervescent frolic.

Working with a talented cast of regional stage actors, director Kathryn Walsh has not created a secure world for her creative team to inhabit, resulting in an often funny but not dynamic production, with shrill delivery and broad physical comedy undermining human-scale relationships. The tone and gestures of the various characters range wildly, as do the design elements. The whimsical, vaguely Victorian costumes, while fun, support the cartoonish elements of the production, while not always clearly defining the characters. The lighting design by Devin Cameron is appropriately warm and effectively saturated but also deploys unnecessary flourishes to support the comedic business. The scenic design by Evan Frank likewise captures the locations of the play and allows the actors to find many levels - literally - as they shift allegiances and stratagems. Justin Cavazos’s sound design and compositions lend unobtrusive support, except for one hilariously developed cue that draws attention to itself in a good way. Overall, Walsh’s production would be better served by trusting the script and the audience, especially in the first act, when we are getting to know the characters and their desires. That said, both Walsh’s direction and her cast fully commit to the amorous and combative collisions at the beginning of the second act, which showcases the physical and verbal comedic gifts of all to uproarious effect.

As part of the Oak Park Festival Theatre's 51st season (left to right) August Foreman, Barbara Zahora, Aurora Pennepacker, Drew Bos, Sonia Goldberg and Chad Bay in The Importance of Being Earnest at Austin Gardens.

One of the things that makes The Importance of Being Earnest work is the moral certitude that the characters bring to their pronouncements, no matter how absurd they are or whether their actions correspond to their words. This certitude also grounds the characters in their truths and forms the foundation of their interactions, but too often the actors are checking in with the audience to see if they got the joke (especially when many of Wilde’s observations still resonate) or negotiating with the lines. By the middle of the second act, the characters begin to define themselves, but much opportunity for connection is lost in the first. August Forman as Algernon flings himself into the role with wild abandon and invites the audience along for the ride. An adept comedian, Forman’s strategy often pays off but undermines Algernon’s insecurity as he balances his needs with society’s demands. All that aside, his Algernon’s compulsion for muffins is not to be missed. As his friend Ernest, who is actually Jack, Chad Bay does a good job of playing the less self-aware of the friends and playing up the character’s completely unjustified horror at Algernon’s embrace of Bunburyism. As Jack’s romantic interest, and Algernon’s cousin, Gwendolen, Sonia Goldberg at times overplays her character’s pretensions, some of which Gwendolen is still struggling to master, making Goldberg’s characterization overwhelmingly self-possessed at times. Conversely, Barbara Zahora lacks the imperiousness of many Lady Bracknells, giving the character an interesting warmth, but making her power solely transactional, which could be an interesting choice if it were played more fully. Aurora Pennepacker as Cecily strikes the most effective balance between the verbal and physical comedy, making the most of the opportunities to show Cecily’s willingness to exploit others’ assumptions about her character and her real understanding of her powerlessness without this ability. In Jodi Gage’s performance, Ms. Prism is a refreshingly insightful tutor to Cecily, while doggedly hanging onto youthful romanticism. Gabriel Armstrong is a very youthful Reverand Chasuble, celebrating his sudden relevance in parish life. Drew Bos may be the youngest actor to play the dual roles of Lane and Merriman in a professional production and wisely focuses on the class commentary afforded by the butlers of their respective households. His droll Lane gives Algernon food for thought in Act I, while his Merriman, already suffering from the physical strain of servitude despite his youth, effectively times his long-suffering pauses at each new demand (though Bos may need a visit to a chiropractor after the run). The experienced cast expertly and clearly delivers Wilde’s witticisms, which are always worth revisiting and occasionally resonate with the current social dynamics.

As the run continues, the production will most likely settle in and allow the script to propel the pacing and action more fully, especially in the more expository first act. There is much to appreciate in Oak Park Festival Theatre’s The Importance of Being Earnest, including a smart cast who find both the verbal and physical humor inherent to the play. Director Kathryn Walsh and her cast also explore fresh takes on the characters, some more successful than others, but always welcome. For those unfamiliar with Wilde’s play, this production is a solid introduction.

The Importance of Being Earnest runs in repertory with Hamlet, through August 14, outdoors in Austin Gardens in Oak Park, Illinois. Visit Season 51 | Oak Park Festival Theatre or call (708) 300-9396 for tickets and more information. Note: a number of the actors perform in both Earnest and Hamlet, and Oak Park Festival Theatre is offering discounted tickets for audiences who want to see both.

Under the leadership of Marilyn F. Vitale Artistic Director Avery Willis Hoffman and Executive Director Angel Ysaguirre, Court Theatre proudly presents the Spotlight Reading Series. The Spotlight Reading Series will run from Friday, August 7, through Saturday, August 22, at venues throughout Chicago. Curated by Director of Engagement Kamilah Rashied, this is the tenth anniversary of the acclaimed and transformative program created by Resident Artist Ron OJ Parson in 2016.

"This year's Spotlight Reading Series is a legacy project," shares Rashied. "It honors Court's Resident Artist, Ron OJ Parson, who began this acclaimed program ten years ago. It celebrates a century of Black artistry and activism that has shaped our nation. And it is a love letter to the resilience, resistance, creativity, and innovation of the city of Chicago—Black Chicago, specifically."

Marilyn F. Vitale Artistic Director Avery Willis Hoffman adds: "The Spotlight Reading Series is an exceptional example of how we at Court put the classics in conversation with our current times. Activating a variety of artistic mediums, texts, and formats, Spotlight is an invitation to engage—with us, with each other, with history, with our city, and with art itself—and ideate our collective future. As America marks 250 years, this program represents civic discourse at its best."

Featuring the most ambitious programming to date, this year's landmark Spotlight Reading Series is organized around the theme "A Century of Black Progress." The tenth-anniversary celebration arrives on the heels of the centennial of Black History Month, which began in 1926 as Negro History Week, and looks ahead to the conclusion of August Wilson's American Century Cycle with Court Theatre's 2027 production of Joe Turner's Come and Gone.

By weaving together the past, present, and future of Black storytelling through a series of immersive events, the Spotlight Reading Series celebrates the soul of Chicago's cultural ecosystem and pays tribute to one hundred years of cultural excellence and resilience.

This year's Spotlight Reading Series is comprised of the following events:

• Friday, August 7: It's Nation Time: An Evening of Black Cinema
• Sunday, August 9: Kuumba Theatre Archive Unfurling
• Wednesday, August 12: Staged Reading of August Wilson's How I Learned What I Learned, featuring Resident Artist Ron OJ Parson
• Thursday, August 13: A Womanist Trilogy: Hurston, Richards, and Kennedy
• Friday, August 14: are you ready to smash white things? by Ireon Roach, a collaboration with Definition Theatre
• Saturday, August 15: Praise and Protest Exhibition Tour
• Saturday, August 15: Harsh Readers Circle
• Wednesday, August 19: Blackstone Book Club
• Saturday, August 22: The Chicago Critics Circles

All events are free and open to the public, and reservations are required. Reservations can be made online atCourtTheatre.org or by calling the Box Office at (773) 753-4472.

Accompanying the live events of the Spotlight Reading Series, Court Theatre—in partnership with Aaron Mays, Tribble, and Respair Media—is proud to present Spotlight Turns Ten, the Spotlight Reading Series companion podcast. Reflecting on the history of the Spotlight Reading Series and a century of Black progress and creativity, Spotlight Turns Ten will feature artists, creatives, and Court collaborators who have contributed to the series over the past decade.

The Spotlight Reading Series is presented in partnership with Arts + Public Life at the University of Chicago, Chicago Public Library, Definition Theatre, and the University of Chicago's Film Studies Center.

It's Nation Time: An Evening of Black Cinema

Experience the power of Black liberation cinema through William Greaves's Nationtime and Skip Norman's Cultural Nationalism—a vital double feature that explores the depth, defiance, and diverse aesthetics of Black liberation cinema and captures the relentless pursuit of self-determination. Presented in partnership with the University of Chicago's Film Studies Center.

Date:                            Friday, August 7, 2026

Time:                            6:30pm Doors, 7:00pm Screening

Location:                       Reva and David Logan Center for the Arts, Room 201 (915 E 60th St, Chicago,

IL 60637)

Participant:                   Dr. Aymar Jèan "AJ" Escoffery (lecturer)

Kuumba Theatre Archive Unfurling

Discover the radical legacy of Chicago's Black Arts Movement at this exclusive Harold Washington Library archival unfurling event. Drawing from Special Collections that showcase the Kuumba Workshop, a revolutionary theatre company founded in 1969 by Val Gray Ward to pioneer "ritual theatre" as a tool for community liberation. Attendees will get an up-close look at original photographs and ephemera that celebrate Kuumba's enduring blueprint for Black art as activism. Presented in partnership with Chicago Public Library.

Date:                            Sunday, August 9, 2026

Time:                            2:00pm

Location:                       Harold Washington Library Center Reading Room (400 S State St, Chicago, IL

60605)

Participants:                 Pemon Rami (guest speaker), Nix Mendy (archivist facilitator), Johanna Russ

(archivist facilitator)

How I Learned What I Learned by August Wilson, Featuring Ron OJ Parson

Experience a legendary theatrical collision as acclaimed director and Court Resident Artist Ron OJ Parson steps onstage to portray the master playwright in August Wilson's autobiographical solo masterpiece, How I Learned What I Learned. Presented as a one-night-only event for Court Theatre's 2026 Spotlight Reading Series 10th Anniversary Festival.

Date:                            Wednesday, August 12, 2026

Time:                            6:00pm Doors, 6:30pm Reading

Location:                       Rubenstein Forum, Friedman Hall (1201 E 60th St, Chicago, IL 60637)

Creative Team:             Aaron Mays (director), Charles Andrew Gardner (associate director)

Cast:                            Ron OJ Parson (actor)

A Womanist Trilogy: Hurston, Richards, and Kennedy

Experience an extraordinary triple feature with A Womanist Trilogy: Hurston, Richards, and Kennedy. This powerful evening unites Zora Neale Hurston's Color Struck, Beah Richards's A Black Woman Speaks, and Adrienne Kennedy's She Talks to Beethoven to explore the interior lives of Black women. Moving from rural folk drama and fiery poetry to avant-garde surrealism, this vital trilogy offers a breathtaking testament to the enduring power of Black feminist voices in American theater across the 20th century.

Date:                            Thursday, August 13, 2026

Time:                            6:00pm Doors, 6:30pm Reading

Location:                       Rubenstein Forum, Friedman Hall (1201 E 60th St, Chicago, IL 60637)

Creative Team:             Kemati Janice Porter (director)

are you ready to smash white things? by Ireon Roach

Join us for a thrilling staged reading of are you ready to smash white things? by multi-talented Chicago artist and playwright Ireon Roach, a celebrated former winner of Definition Theatre's Amplify series. This fierce, brilliant, and deeply contemporary work uses sharp wit and unflinching honesty to interrogate institutions, dismantle systemic structures, and explore the visceral realities of Black liberation and identity. Presented in partnership with Definition Theatre.

Date:                            Friday, August 14, 2026

Time:                            6:00pm Doors, 6:30pm Reading

Location:                       Rubenstein Forum, Friedman Hall (1201 E 60th St, Chicago, IL 60637)

Creative Team:             Ireon Roach (playwright), Charlique C. Rolle (director), Tyrone Phillips

(post-show moderator)

Praise and Protest Exhibition Tour

The exhibition Praise and Protest: Voices of the Chicago Black Renaissance invites visitors to explore a transformative cultural movement told through the rare archival records of the Vivian G. Harsh Research Collection. This interactive gallery tour honors the extraordinary artists, scholars, and activists who reshaped American culture from the 1930s through the 1950s. This exhibition shines a light on understudied aspects of Black history and artistry whose seminal explorations of Black life remain as timely as they are extraordinary. Presented in partnership with Chicago Public Library.

Date:                            Saturday, August 15, 2026

Time:                            11:00am (Lunch provided from 1:00pm - 2:00pm)

Location:                       Vivian G. Harsh Research Collection at the Woodson Regional Library (9525 S

Halsted St, Chicago, IL 60628)

Participants:                  Courtney Becks (facilitator), Raquel Flores-Clemons (archivist facilitator)

Harsh Readers Circle

For 40 years, the Harsh Readers Circle has met monthly at the Vivian G. Harsh Research Collection, located inside the Woodson Regional Library. Inspired by the legacy of Vivian G. Harsh herself, this staple book club is dedicated to reading and discussing the finest works of Black fiction and non-fiction. Join the Circle for this special convening as they explore their August selection: A Street in Bronzeville, the groundbreaking debut book of poetry by Chicago's own Gwendolyn Brooks. Presented in partnership with Chicago Public Library.

Date:                            Saturday, August 15, 2026

Time:                            2:00pm (Lunch provided from 1:00pm - 2:00pm)

Location:                       Vivian G. Harsh Research Collection at the Woodson Regional Library (9525 S

Halsted St, Chicago, IL 60628)

Participants:                  Courtney Becks (facilitator)

Blackstone Book Club

Court Theatre's Community Reads Series bridges page and stage by inviting audiences to explore foundational literature that mirrors the theatrical season. Anchoring the Spotlight Reading Series 10th Anniversary Festival, this year's book club selection is Harvey Young and Queen Meccasia Zabriskie's groundbreaking text, Black Theater is Black Life: An Oral History of Chicago Theater and Dance, 1970-2010. Filling a critical gap in the history of African American culture in Chicago, the book weaves together interviews with prominent artists who have shaped the city's cultural landscape over decades. Presented in partnership with Chicago Public Library.

Date:                            Wednesday, August 19, 2026

Time:                            5:30pm

Location:                       Blackstone Branch of the Chicago Public Library (4904 S Lake Park Ave,

Chicago, IL 60615)

Participants:                 Adia Sykes (facilitator)

The Chicago Critics Circles

Part I: Black Authorship

Co-presented in partnership with Arts + Public Life, this roundtable talk frames Black publications as vital sites of cultural production, political imagination, and narrative control. By examining how independent media, literary institutions, and emerging platforms document and interpret Black life, the panel highlights a crucial legacy of self-determination. This timely convening directly advances the Spotlight Festival theme through the essential lens of narrative sovereignty. Presented in partnership with Arts + Public Life.

Date:                            Saturday, August 22, 2025

Time:                            2:00pm

Location:                       Green Line Performing Arts Center (329 E Garfield Blvd,

Chicago, IL 60637)

Participants:                 Adrienne Brown (moderator), Donna Rose Weems (speaker)

Part II: Claiming Space

Co-presented in partnership with Arts + Public Life, this roundtable explores how physical and social spaces act as incubators for Black cultural life and resistance. In a roundtable conversation, panelists will investigate how these environments are intentionally created, stewarded, and preserved. Presented in partnership with Arts + Public Life.

Date:                            Saturday, August 22, 2025

Time:                            4:00pm

Location:                       Green Line Performing Arts Center (329 E Garfield Blvd,

Chicago, IL 60637)

Participants:                 Tara Betts (speaker)

Winner of the 2022 Regional Theatre Tony Award, Court Theatre reimagines classic theatre to illuminate our current times. In residence at the University of Chicago and on Chicago's historic South Side, we engage our audiences with intimate and provocative experiences that inspire deeper exploration of the enduring questions that confront humanity and connect us as people.