Displaying items by tag: Chicago

American Blues Theater, under the continued leadership of Executive Artistic Director Gwendolyn Whiteside, concludes its 40^th anniversary season with the hit jukebox musical Always...Patsy Cline created by Ted Swindley, with band and vocal orchestrations by August Eriksmoen and Tony Migliore. The production is directed by Harmony France, with music direction by Ensemble Member Michael Mahler. Always...Patsy Cline runs May 1 – June 7, 2026, at American Blues Theater at 5627 N Lincoln Ave, Chicago. 

This musical play, complete with down home country humor and big-hearted emotion, includes hits "Crazy", "I Fall to Pieces", "Sweet Dreams", "Walkin' After Midnight" and more! Starring Ensemble member and award winner Liz Chidester as Patsy Cline and featuring guest artist Molly Hernández as Louise.

Tickets, priced $34.50-$64.50, are on sale now the American Blues Theater box office, online at www.americanbluestheater.com, or by phone at (773) 654-3103.

Always...Patsy Cline

Created by: Ted Swindley

Band & Vocal Orchestrations by: August Eriksmoen & Tony Migliore

Directed by: Harmony France

Music Direction by: Ensemble Member Michael Mahler

Featuring: American Blues Theater Ensemble member Liz Chidester as Patsy Cline and Molly Hernández as Louise.

Dates: May 1 – June 7, 2026

Schedule:                   

Wednesdays: 2:00 PM (except May 6); 7:30 PM (May 6 only)
Thursdays: 7:30 PM
Fridays: 7:30 PM (except May 8 @ 7:00 PM)
Saturdays: 3:00 PM (May 16 & May 30 only); 7:30 PM (May 2, 9 & 23, June 6)

Sundays: 2:30 PM

Location: American Blues Theater, 5627 N Lincoln Ave, Chicago

Ticket prices: $34.50 - $64.50 (no hidden fees)

Box office: Buy online at www.americanbluestheater.com or by calling (773) 654-3103.

Special Access Events

Tickets: $34.50 – call theater for special rate

Touch Tour: Sunday, May 31 at 1:30 PM
Audio Described Performance: Sunday, May 31 at 2:30 PM
American Sign Language-Interpreted Performance: Friday, May 22 at 7:30 PM

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

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

About American Blues Theater

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

The diverse and multi-generational artists have established the second-oldest professional Ensemble theater in Chicago. As of 2025, the theater and artists received 246 Joseph Jefferson Awards and nominations that celebrate excellence in Chicago theater and 44 Black Theatre Alliance Awards. The artists are honored with Tony Award and Pulitzer Prize nominations, Academy Awards, Golden Globe Awards, Emmy Awards and numerous other accolades.  

Nearly a decade after it first upended the American musical, Hamilton returns to Chicago’s CIBC Theatre as part of Broadway In Chicago’s 2026 season, and its cultural voltage hasn’t dimmed one bit. Inspired by Ron Chernow’s book, Alexander Hamilton, Lin‑Manuel Miranda’s genre‑shifting epic — part biography, part political thriller, part hip‑hop opera — still hits with the force of a story determined to be heard. Having seen it in its inaugural year, I can say this revival lands even sharper, richer, and more assured than ever.

Alexander Hamilton didn’t just witness the birth of the United States — he helped engineer its architecture. As a delegate at the Constitutional Convention, he argued fiercely for a unified national government, and though not the primary drafter, he became one of its most influential defenders, authoring the majority of The Federalist Papers to secure the Constitution’s ratification. His imprint only deepened from there: he built the nation’s financial system from the ground up, established the U.S. Treasury, championed a national bank, and laid the groundwork for the country’s credit, industry, and economic identity. In Hamilton, these achievements aren’t treated as dry civics lessons but as the combustible fuel of a man determined to transform a fragile collection of states into a functioning nation — a legacy as complicated as it is foundational. The musical captures not just his ascent, but the way his ideas became the scaffolding of a country still deciding what it wanted to be.

Through songs like “My Shot,” “The Room Where It Happens,” and “Hurricane,” Miranda reframes the Founding Fathers not as marble statues but as flawed, hungry, deeply human figures fighting to define a nation and themselves. What Miranda is ultimately trying to convey — and what this production underscores beautifully — is that America’s story has always been messy, contested, and built by people who rarely saw themselves as the heroes of their own narrative.

Director Thomas Kail’s staging remains a masterclass in kinetic storytelling. The turntable choreography, the razor‑sharp transitions, and the way bodies carve through space all contribute to a sense of history constantly in motion. Under his direction, the show feels both epic and immediate — a revolution unfolding in real time.

l-r-Tyler Fauntleroy as Alexander Hamilton and A.D. Weaver as George Washington in Hamilton at CIBC Theatre. Photo by Joan Marcus.

What continues to astonish about Hamilton is how much storytelling power resides in its deceptively simple visual world. David Korins’ now‑iconic set — all timber, ropes, brickwork, and scaffolding — frames the action like an unfinished nation still under construction. The exposed architecture becomes a living metaphor for the country Hamilton is trying to build, while the revolving stage keeps history literally turning beneath the actors’ feet. Paul Tazewell’s costumes layer silhouettes with subtle modern inflections, allowing the cast to move with the velocity the score demands while still grounding the story in its 18th‑century roots. The palette shifts almost imperceptibly as alliances form and fracture, and the contrast between the Schuyler sisters’ elegance, the soldiers’ grit, and King George’s absurd opulence adds texture to every scene. Together, the set and costumes create a world that feels both historical and urgently contemporary — a perfect visual match for Miranda’s reimagined revolution.

This Chicago cast brings its own intensity. The Chicago engagement of Hamilton boasts a powerhouse company led by Tyler Fauntleroy, who delivers a relentless, razor‑sharp Alexander Hamilton—equal parts tactician, poet, and live wire. His performance feels carved from pure momentum, capturing both Hamilton’s brilliance and his self‑destructive drive. Opposite him, Jimmie “J.J.” Jeter turns in a magnetic, exquisitely controlled Aaron Burr, layering charm, calculation, and simmering envy into a portrayal that peaks beautifully in a soul‑baring “Wait For It” and a show‑stopping “The Room Where It Happens.” Lauren Mariasoosay brings warmth, emotional clarity, and a quiet steel to Eliza Hamilton (through April 12th), while Amanda Simone Lee commands the stage with fierce intelligence and vocal fire as Angelica Schuyler. Lily Soto shifts effortlessly between the wide‑eyed innocence of Peggy Schuyler and the seductive, wounded edge of Maria Reynolds through April 12th, with Nadina Hassan stepping into the roles beginning April 14th. A true force, A.D. Weaver anchors the production with statesmanlike gravitas as George Washington, and Christian Magby all but steals the show with his dual swagger as Lafayette and Jefferson—two performances so distinct they feel like separate universes. Nathan Haydel brings youthful fire and heartbreaking vulnerability to both John Laurens and Philip Hamilton, while Eddie Ortega grounds the ensemble with muscular presence as Hercules Mulligan and James Madison. And rounding it out, Matt Bittner delivers a perfectly petty, wickedly funny King George III, milking every entrance for maximum delight, stealing the moment with a perfectly calibrated blend of comedy and menace in “You’ll Be Back.”.

Musically, the production remains a marvel. The blend of hip‑hop, R&B, traditional musical theatre, and lyrical density still feels revolutionary, and the orchestra at the CIBC gives the score a muscular, propulsive energy. Even familiar numbers feel newly alive in this space. The production is expansive and brimming with moments that land with exhilarating force.

The run at the CIBC Theatre continues through April 26th, giving audiences a generous window to revisit — or finally experience — the show that redefined what Broadway could be.

In a city that knows its way around bold storytelling, Hamilton still stands out. It’s a reminder that history is not a fixed monument but a living argument — and that the voices shaping it are far more diverse, complicated, and compelling than the textbooks ever let on. Whether you’re seeing it for the first time or the fifth, this production makes the revolution feel brand new.

Highly recommended.

For tickets and/or more show information, click here.

This review is proudly shared with our friends at www.TheatreInChicago.com. 

Last night, while waiting in the tranquil lounge of the Bramble Arts Loft, a familiar question floated around the theatergoers: Does art imitate life or does life imitate art? It’s a philosophical question that has been around for ages. It probably passed through the minds of those who first saw the play some 2,000 years ago. It’s a question I never tire of. The debates change based on the context of the time it is asked, and the mindset of the individual. For no matter how many times it is asked, no two answers are ever alike; life and the medium are inextricably linked. There’s no better example of this currently playing in Chicago than The Trojan Women, the inaugural production of Eos Theatre Company, now playing at the Bramble Arts Loft.

Ashway Lawver as Hecuba. Photos by Steven Townshend / Distant Era.

A blisteringly relevant modern-day version of Euripides' anti-war play, The Trojan Women, has been rewritten and is set in a mother-and-baby unit of a prison. The war is over. Beyond the prison walls, Troy and its people burn. Inside the prison, the city's captive women await their fate. Stalking the antiseptic confines of its mother and baby unit is Hecuba, the fallen Trojan queen, whilst the pregnant Chorus is shackled to her bed. But their grief at what has been before will soon be drowned out by the horror of what is to come, as the Greek lust for vengeance consumes everything – man, woman, and baby – in its path. This caustic and radical new version of Euripides' classic tragedy comes from one of the UK's most exciting young poets, Caroline Bird, and is directed by Rachel Sledd Iannantuoni. It is an intense, gripping look at what happens when the world collapses.

Photo by Steve Townshend | Distant Era

The Trojan War is ancient history, relegated to stories retold through modern media countless times over. Yet the story of the war and The Trojan Women remains as relevant today as it did thousands of years ago. Euripides’ The Trojan Women takes place at the end of the war. Troy is burning while the city's captive women wait to be told their fate by the victorious Greeks, who penetrated the city walls hiding inside the famous Trojan horse. Caroline Bird’s modern adaptation of Euripides' 415 BCE tale sets the play in a Trojan hospital turned prison by the Greek invaders. “Her work is a fierce exploration of the complex intersections of class, gender, patriarchy, and nationality,” says Iannantuoni. “It is timely and timeless. Sometimes comical. Often absurd. Ultimately heartbreaking.” Superbly acted by members of the Eos Theatre Company, The Trojan Women is a production that will stay with you long after you leave the theater.

Photo by Steve Townshend | Distant Era

War is hell. While many of us might not experience it firsthand, we can empathize with the horrors it leaves in its wake, for war is as timeless as the stories that come from them. Yet again, we’re faced with a meaningless war started by the few and fought by the many. Yet again, humans are faced with unfathomable choices. Yet again, we both come together and tear each other apart over claims of moral and ethical superiority. The Trojan Women could have easily been written today. The plight of women in a patriarchal world is reduced to little more than incubators and spoils of war. The question of the role men play in war: protectors or pillagers? The questions of gratitude and honor, dignity and demise. The Trojan Women beautifully – hauntingly -- explores all of this and inevitably leads us to ask ourselves a single question: Does art imitate life or does life imitate art? See this incredible and timeless production, and let’s get together at Simon’s Tavern to discuss.

Unlike the Trojan War, The Trojan Women only runs through April 18^th at Bramble Arts Loft (5545 N Clark St 2nd Floor, Chicago). Ferry your ships and set a course for Andersonville to get your tickets and a glimpse of this tragically timeless tale today.

This review is proudly shared with our friends at www.TheatreInChicago.com. 

There are thousands of stories you’d love to see brought to the stage. Stories that slip into the lives of people who walk through the world either unseen or are barely considered by those possessing more standard existences.  People who, because of the way they look or talk or are intrinsically wired to move through life find themselves on the periphery.  Or who mask their true selves by pretending to be something they’re not.  With all the same desires, hopes and dreams of a common human being, something about them hinders them from freely striving for type of self-actualization we all crave.

How they see themselves, relate to others and fulfill their aspirations can produce illuminating and often engrossing stories about who and what we, as a species, inherently are.  They’re in the family of stories queer focused About Face Theatre has been telling boldly and honestly since 1995.  And it’s current production by playwright Preston May Allen, Modern Gentleman, fits snugly in the theater company’s oeuvre of truth.  

By stepping into and exploring the life of Adam, a trans man living in present day New York, About Face again provides a platform to enlighten through alternative storytelling.  Uniquely structured, and under Landree Fleming’s novel direction, Modern Gentleman presents ideas, beliefs and circumstances that provoke serious and stimulating contemplation.  Despite all the things it either suggests or leaves a mystery, it’s the common threads of life that stand out most distinctly.

Passion, drama and rewardingly precocious humor are the trinity that pervade this profile of a person trying to live their most complete life in the gender they feel most comfortable. 

Its passion that opens the play as Adam (Alec Phan) and his girlfriend Lily (Kaylah Marie Crosby) tumble through the front door of Adam’s apartment tearing at each other’s clothes in their rush to get busy between the sheets.  A young articulate couple, they’ve been together for five years and have that satisfyingly acclimated aura of a happily nested pair.  The only odd note is that after a certain point, they seem to be a little awkward about undressing in front of one another.

It isn’t long before the barely visible specter of foreboding that steals over them gets pulled from the shadows.  Sometime since they’ve been together, Adam’s found the courage to confess his desire to transition from being a woman and become male.  When they originally met, they were two women, lesbians whose relationship led to love.  It may have been a startling revelation for Lilly. But that depends on the amount of candor that defined their union.  Others in her position would have left immediately.  Lilly stayed, but two years into a regimen of testosterone treatments and the transformation of her once girlfriend’s physical appearance, and Lilly is experiencing a change of heart.  She eventually tells Adam she can’t go do it and leaves. 

Her departure though doesn’t prove final.  She keeps resurfacing, coming back to the apartment to house sit and care for Adam’s diabetic cat when he needs to travel for work.  Stopping by repeatedly to clarify her position and probe his.  Through their back and forth, we get an enlightening, indeed an enlivened picture of the complexity and far-reaching ripple effects a single very personal decision can produce.

Because they’re both so expressive, so fluent in disclosing their innermost feelings, we learn the rupture isn’t at heart due to superficialities.  It seems to center on personal perception of self and how they both want to experience intimacy beyond sex.  

Because he has allies, Adam enjoys the benefit of other insights.  His friend Samuel (Omer Abbas Salem), whose “gayese” is superb and whose piquant wit is lined with razors, has tons of excellent advice.  Adam’s sister Natalie (Ashlyn Lozano) is equally supportive and just savvy as Sam.  We never know why neither Samuel or Natalie seem to care for Lily who, despite the amount of time she has on stage and the good sense she consistently demonstrates, seems bereft of boosters in her corner. 

A woman Adam meets at a family social event and eventually hooks up with, Alycia, played with wonderfully brash assurance by Emma Fulmer, helps paint a bracing image of what dating looks like 2 ½ decades into the 21^st century.  Through her frankness, she lets Adam get a clearer picture of how a trans man who hasn’t had any below the belt alterations can fit into today’s sexual cosmos.

Milo Bue’s subdued polished set offers an unobtrusive and pleasing backdrop to this edifying drama of the heart.  Ethan Korvne’s sound design and original music bring unexpected texture to Adam’s story and shows how well composed sound elements can complement dramatic theater.  And thanks to Catherine Miller’s cosmopolitan approach to casting, we gain a promising view into the possible. 

Language that sometimes strays toward the ponderous, and occasionally less than fluid scene transitions, prove only mildly distracting.  They don’t lessen the suspense of how Adam will come to fully accept himself as the man he now is rather than some fantasized ideal.  Nor do they leave us less curious of about how that kind of epiphany will impact his relationship with Lily.  

What Modern Gentleman does most gratifyingly is shed thoughtful and intelligently humane light on one of the unseen and unheralded in our midst to give us a fuller understanding of ourselves.

Modern Gentleman

Through April 18, 2026

About Face Theatre

Venue:  Raven Theater

6157 N. Clark Street

Chicago, IL  60660

For more information and tickets:   https://aboutfacetheatre.com

This review is proudly shared with our friends at www.TheatreInChicago.com. 

Steppenwolf Theatre Company, the nation's premier ensemble theater company, is pleased to conclude its 50th Anniversary Season with the Chicago premiere of Mia Chung's theatrical tour-de-force Catch as Catch Can, directed by ensemble member Amy Morton, playing June 4 – July 12, 2026 in Steppenwolf's Downstairs Theater, 1650 N. Halsted St. in Chicago. Single tickets are now on sale at steppenwolf.org or the Box Office at (312) 335-1650. 

Longtime ensemble member Gary Cole (NCIS, Veep, The West Wing) returns to the Chicago stage for the first time in over 25 years, joined by fellow ensemble members Audrey Francis (The Thanksgiving Play, Noises Off, The Doppelgänger) and Tim Hopper (Mr. Wolf, Fool for Love, Downstate).

About the Production:

When a prodigal son returns to blue collar New England, his homecoming sets off a spiraling crisis for two families, threatening not only their relationships but their very identities. In Mia Chung's wildly inventive Catch as Catch Can, three actors take on six roles, bridging generation and gender, in a theatrical tour-de-force that upends the kitchen sink drama and asks what happens when we refuse to play the roles we're prescribed. Spanning hilarity, stunning virtuosity and outright horror, this ferocious Chicago premiere must be witnessed to be believed.

The creative team includes Andrew Boyce (Scenic Design), Izumi Inaba (Costume Design), Yuki Nakase Link (Lighting Design), Mikhail Fiksel (Sound Design), Kate DeVore (Dialect and Voice Coach), Jonathan L. Green (Dramaturg), Patrick Zakem (Creative Producer), Elise Hausken (Production Manager), JC Clementz, CSA (Casting), Laura D. Glenn (Production Stage Manager) and Jaclynn Joslin (Assistant Stage Manager). For full cast and creative team bios, click here.

Production Details:

Title: Catch as Catch Can
Playwright: Mia Chung
Director: ensemble member Amy Morton
Cast: ensemble members Gary Cole (Roberta Lavecchia/Robbie Lavecchia), Audrey Francis (Lon Lavecchia/Daniela Lavecchia) and Tim Hopper (Theresa Phelan/Tim Phelan).

Location: Steppenwolf's Downstairs Theater, 1650 N. Halsted St., Chicago
Dates: Previews: Thursday, June 4 – Saturday, June 13, 2026
Opening: Sunday, June 14, 2026 at 6 pm
Regular run: Tuesday, June 16 – Sunday, July 12, 2026
Curtain Times: Tuesdays, Wednesdays, Thursdays and Fridays at 7:30 pm; Saturdays at 3 pm & 7:30 pm; and Sundays at 3 pm. Please note: there will not be 7:30 pm performances on Tuesday, June 9, Friday, June 19 (Juneteenth); Saturday, July 4 (Independence Day) or Tuesday, July 7; there will not be a 3 pm performance on Saturday, July 4 (Independence Day); there will be an added 2 pm matinee on Wednesday, July 1; there will be an added 7:30 performance on Sunday, July 5.

Tickets: Single tickets for Catch as Catch Can ($20 – $120*) are now on sale at steppenwolf.org and the Box Office at (312) 335-1650. Steppenwolf Flex Memberships are currently on sale at steppenwolf.org/memberships: Black Card Memberships with six tickets for use any time for any production and RED Card Memberships for theatergoers under 30. *Pricing includes an $8.50 handling fee

Steppenwolf offers 20 tickets for $20 (no added fees) for each performance of every membership series production. Use promo code 20FOR20 to redeem this offer online, available in advance until they're sold out for every main series show. Limit 2 tickets per person. You can also purchase by phone at (312) 335-1650 on the day-of show at 12 pm for main series performances. Limit 2 tickets per person.

Accessible Performance Dates:

Audio-Described and Touch Tour:  Sunday, June 28 at 3 pm (1:30 pm Touch Tour)
Open-Captioned: Thursday, June 25 at 7:30 pm & Saturday, July 11 at 3 pm
ASL-Interpreted: Friday, July 10 at 7:30 pm

Education and Engagement:

Throughout the 2025/26 season, Steppenwolf continues its commitment to the next generation of theatre learners, makers and appreciators with robust education and engagement programming. During the school year, programming includes dedicated student matinee performances for four of the five Membership Series productions, in-school residencies in partnership with Chicago Public schools, a series of on-site workshops in artmaking and theater production, events specifically geared towards teens, as well as professional development trainings and resources for educators. Additionally, Steppenwolf is reimagining their community engagement and will pilot new public programming, continue accessibility programming and offer opportunities for deeper explorations for audiences throughout the season. For additional information about Steppenwolf's Education and Engagement programming and to register your school for a field trip visit steppenwolf.org/education-and-engagement/steppenwolf-field-trip-series.

Artist Biographies:

Mia Chung (Playwright) received a 2024 MacDowell Fellow, 2023 Whiting Award for Drama and a 2022 MAP grant for a new music-theatre work. Her play Catch as Catch Can premiered at Playwrights Horizons in Fall 2022 (2018 World Premiere, Off-Off-Broadway, Page 73). Additional work: Ball in the Air (NAATCO/Public Theater 2022), Double Take (PH Almanac 2021), This Exquisite Corpse (multiple awards), You For Me For You (Royal Court, National Theatre Company of Korea, Woolly Mammoth, multiple regionals. Published: Bloomsbury Methuen). Awards, commissions, residencies include: Clubbed Thumb, Helen Merrill, Loewe Award for Music-Theatre, MTC/Sloan, NYTW, Playwrights' Center/Jerome, Playwrights Horizons/Steinberg, Playwrights Realm, South Coast Rep, SPACE/Ryder Farm. Alum: Huntington Playwriting Fellows, Ma-Yi Writers Lab, New Dramatists.

Amy Morton (Director) is an actor and director. She has performed in or directed many plays at Steppenwolf including: Edward Albee's Who's Afraid of Virginia Woolf? (Tony nomination), August: Osage County (Tony nomination), One Flew Over The Cuckoo's Nest (also on Broadway), Hir, Cherry Orchard, The Berlin Circle, Three Days of Rain, The Unmentionables, Space, The Royal Family and many others. She has directed Guards at the Taj (both Atlantic Theatre and Steppenwolf), Glengarry Glen Ross, Clybourne Park, American Buffalo, The Dresser, The Pillowman, Topdog/Underdog, Edward Albee's Who's Afraid of Virginia Woolf? (Alliance Theatre), Awake and Sing (Northlight Theatre), and many others. Film: Rookie of the Year, 8MM, Falling Down, Backdraft, Up in the Air, Bluebird, It Ends With Us. Television: The Bear, Bluebloods, Girls, Homeland, currently a regular on Chicago P.D. as Sgt. Trudy Platt. Before joining Steppenwolf, Amy was a member of the Remains Theatre for 15 years.

Gary Cole (Roberta Lavecchia/Robbie Lavecchia) has been a member of the Steppenwolf Theatre Company Ensemble since 1986. Past Steppenwolf credits include: Balm in Gilead, Tracers, Frank's Wild Years, Closer and August: Osage County. Off-Broadway: True West, Orphans (both of which originated at Steppenwolf), and the premiere of Sam Shepard's Heartless. Television: West Wing, Entourage, Chicago Fire, The Good Wife, The Good Fight, Suits, Veep and NCIS. Voiceover work includes: Family Guy, Big Mouth and Archer. Film: In the Line of Fire, A Simple Plan, Dodgeball, Office Space, Talladega Nights: The Ballad of Ricky Bobby and Pineapple Express.

Audrey Francis (Lon Lavecchia/Daniela Lavecchia) currently serves as Artistic Director of Steppenwolf Theatre, alongside Glenn Davis, where she has been an Ensemble member since 2017. Audrey directed You Will Get Sick in Steppenwolf's 2024/25 season and POTUS in the 2023/24 season. She has performed on stage in Noises Off, The Thanksgiving Play, The Herd, Between Riverside and Crazy, The Fundamentals, The Doppelgänger (an international farce) and Dance Nation. TV and film credits include Justified: City Primeval, Chicago Med, Chicago Fire, Empire, Perpetrator, Knives and Skin and Later Days. Audrey is an acting coach for NBC, Fox, Showtime and Amazon. She is also the co-founder of Black Box Acting and the co-creator of Steppenwolf's corporate training program, Steppenwolf IMPACT.

Tim Hopper (Theresa Phelan/Tim Phelan) is a member of the Steppenwolf Theatre Company ensemble. Recent roles at Steppenwolf include Mr. Wolf in Mr. Wolf and Andy in Downstate, which traveled to the National Theatre in London, and to Playwrights Horizons in New York. Television appearances include Chicago Fire, Emperor of Ocean Park, the Amazon series Utopia, Fargo, The Americans, and Empire. Film appearances include the upcoming A24 film Enemies, as well as Perpetrator; Knives and Skin, School of Rock and To Die For, among others. Off-Broadway: New York Theatre Workshop, Vineyard Theatre and the Atlantic Theater. Internationally, the Edinburgh Festival and Antwerp's De Singel Theatre.

Accessibility: 

As a commitment to make the Steppenwolf experience accessible to everyone, performances featuring American Sign Language Interpretation, Open Captioning and Audio Description are offered during the run of each STC production. Assistive listening devices (ALDs), large-print programs and Braille programs 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 or e-mail This email address is being protected from spambots. You need JavaScript enabled to view it..

Sponsor Information:

Catch as Catch Can is supported in part by Jenner & Block. 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, Bryan Traubert and Penny Pritzker, and Vinci Restaurant. 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 1980 phenomenon of Balm in Gilead, to The Grapes of Wrath, August: Osage County, Downstate, The Brother/Sister Plays, and now, the 2025 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 1975 by Terry Kinney, Jeff Perry and Gary Sinise, Steppenwolf started as a group of young people in their teens and early 20s performing in the basement of a church. 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.

If all the world’s a stage and we are all merely players, then we must be prepared when we are thrust into the spotlight. Not everyone will be ready. Some of us might freeze or forget our lines or simply wave the spotlight on, forgoing the opportunity to perform, content with playing in the shadows or the wings. Others, however, crave the attention and demand to be center stage, presumably because they have something to say. Whether or not you signed up to be in the play or part of the production, it’s essential to be prepared, to know what you would say or do when given a stage. This past weekend, I witnessed just such an opportunity during a performance of Off-Nights at the Sometimes Café. The stage was set, the players cast, and an attentive audience seated. The trouble was, when the spotlight was on, nothing was said.

Off-Nights at the Sometimes Café is billed as a campy parody of a noir mystery, following a cafe pianist in lieu of a detective. As the pianist/narrator plays his way through the show, he guides the audience through the tangled web of attraction, seduction, and general silliness that occurs when a bunch of attractive queer people end up in the same place.

On its surface, Dave Walther’s Off-Nights at the Sometimes Café aims to be a delightful, poignantly unserious celebration of queer joy and desire, and a heartwarming portrayal of how to find a chosen family— warts and all. But that message, along with the representation it aims to spotlight, is completely lost in a story lacking in formula, pace, or purpose. There is no particular plot with a beginning, middle, and an end. There’s no catalytic event or climax. It’s more of a drawn-out setting of a café scene, focusing on the introduction of six characters that takes over one hour of the play’s seventy-five-minute run time to fully explain. There is no protagonist – or spoken scenes for that matter -- save for the curmudgeonly monotonous narrator who tells the story in the same sad minor keys the musical numbers are played in. The only time the characters speak is through song. While the players have exceptional voices, the choice of opera as a medium is an interesting one. The operatic numbers all focus on love (both absent and unrequited), but they don’t particularly move the story forward or really accentuate or explain the characters’ motivations or sentiments. Save for a few witty one-liners and repetitive drag numbers, there isn’t much depth or substance to this story, so it begs the question: Why was this put on?

Off-Nights at the Sometimes Café is simply doing too much for a message of love, acceptance, and community to shine through. At least that is what I took away from the production. It’s neither an homage to film noir nor a parody. It’s lacking in elements such as a femme fatale, lover’s quarrels, a whodunnit with high-contrast lighting, nonsensical voice narration, hyperbolic metaphors, or, said succinctly, a storyline, something nearly every film noir/parody possesses. The same goes for the opera homage and lack thereof. Key operatic elements are also lacking, such as libretto (text/story), aria (emotional solo), a recitative (speech-like narrative singing), and most importantly, the theatre and spectacle that opera is known for. None of that is found in this play. To be fair, perhaps that was the whole point, and it simply missed me as quickly as the 70-degree day in Chicago. If you squinted, you could see where Off-Nights was trying to go. The problem was in the execution and pace of the story. It was simply doing too much and not enough at the same time. Director Clare DiVizio’s introduction to the play provided more grounding and heart than the entirety of the run of the show, the reminder to all that queer and trans rights matter, now more than ever in today’s volatile and violent world. Off-Nights lingers so heavily in the descriptions of characters and their identification that we miss the ‘why?’ Why are we here? Why should we care about these characters? What do you want the audience to take away from this production, outside of a love story that references the last great love was when dinosaurs were drinking beers? Off-Nights, unfortunately, misses their mark.

When given a spotlight, one must be ready and prepared to step into it with something to say. No matter the medium chosen to convey one’s story, the story still needs to be easy to follow. It should have heart and depth even if it’s told through parody and satire. If the message you wish to impart to your audience is lost in translation, or simply doesn’t exist, was it ready for its moment on the stage? Did the story linger in the shadows too long, or was it simply not ready for the spotlight? With some rewriting, staging choices, and script alignment to any of the formulas the play aims at parodying, Off-Nights at the Sometimes Café could become the queer extravaganza it bills itself as. Until then, the audience is waiting for something great to take the stage and have its moment in the spotlight.

Check out the other 2026 season of events and shows at Bramble Arts Loft and learn more about The Thompson Street Opera Co. and their mission to bring inclusivity to the operatic art form.

Comedy Dance Chicago is bringing their family-friendly show to The Second City! (Fun fact: this group was born out of a Second City Training Center class back in 2014). The show is a high-energy laugh-riot for ages 5 to 95. Comedy Dance Chicago's joyful mashup of sketch comedy, physical humor, music, and dance is sure to have you (and your kids and their grandparents) smiling, laughing, and bopping in your seats! These dancin' fools bring relatable situations to life... anything from the importance of hugs to a good old-fashioned staring contest. And who knows, you might even find yourself on stage! Don't miss this joy-filled experience, perfect for anyone in need of a laughter boost.

People often ask "What is Comedy Dance?" Here's what audiences say:

     "It's one of the funniest, most enjoyable hours you'll spend on a Friday night."
-Chicago Reader

     "My face hurts from smiling!" & "That was so joyful!"

     ""We had SO much fun and Olivia giggled her little head off the whole time."
            -Blair (parent)

Comedy Dance Chicago presents HAPPY DANCE, Saturdays March 21, April 4, April 18, May 2, May 16, May 30 at 2:00pm at The Second City in the e.t.c Theater (230 W. North Ave., Piper's Alley, Chicago, IL). Show runs 60 minutes with no intermission. Tickets are $35 for adults and $29 for kids.

Notable credits include: "8-BITS" and "Oh, the Mundanity!" at The iO Theater; Toronto Sketch Comedy Festival, Charlotte's Queen City Comedy Experience; San Francisco Sketchfest; Laugh Out Loud Schaumburg; I AM Fest at House of Blues; Chicago Sketch Comedy Festival; Chicago Women's Funny Fest, Stevenson High School Odyssey Festival; among others. 

About Comedy Dance Chicago

Comedy Dance Chicago. A different kind of comedy show. A different kind of dance show. Unique entertainment for Chicago and beyond. But... what is comedy dance?! In Layman's terms: they dance, you laugh. Still confused? You'll just have to see it.

Comedy Dance Chicago has been delighting and entertaining audiences for over 10 years.  They are a turnkey option for performing arts venues, K-12 schools, colleges and universities, and corporate events looking to add joy to their next event. Company members bring a range of comedy and dance styles to the show and have trained with the Second City Training Center, iO Chicago, American Theatre Conservatory, Accademia dell'Arte, among others. Having performed at the Chicago Sketch Comedy Festival (Stage 773), iO Chicago, Dance Chicago (The Athenaeum Theatre), Woodstock Opera House, the Association of Applied and Therapeutic Humor Conference, and (that one time) at the House of Blues, Comedy Dance Chicago is thrilled to share laughs and spread the love of comedy dance to the rest of the US. 

Created in 1904, Giacomo Puccini’s Madama Butterfly has become one of the world’s greatest and most popular operas.  New York’s Metropolitan Opera alone had performed it 902 times prior to the beginning of its 2023-24 season.  Renowned for his gifts for melody, Puccini’s musical component is ravishingly beautiful.  His manner of intermixing cultural references into his orchestration also makes it exquisitely complex.  Enhanced with a gripping story about the power of trust and the fragility of love, Madama Butterfly qualifies as an irrefutable masterpiece. Throughout its existence though, the opera has also been an artistic triumph with issues.

An adaptation of a one-act play written in 1900, which itself was based on a short story by an American author, John Luther Long two years earlier, it’s been criticized as being a flawed fantasy.  One created by white men about the essence of another culture.  In this case, Japan.  In Madama Butterfly, an American, Lt. B. F. Pinkerton, arrives in the island country and soon begins a quest for love.  A love that he never plans to be lasting.  Once he returns state side, he’ll re-enter the mainstream and marry traditionally.

Since its origin, issues of perception and portrayal have always haunted Puccini’s Madama Butterfly.  He composed it in partnership with Giuseppe Giacosa and Luigi Illica who wrote the text or libretto.  For most of the opera’s existence, the way Japanese culture and its people were projected robbed them of dimension and ultimately diminished their humanity.  In both early productions of the opera and in virtually all that followed, Japanese men saw their virility erased while Japanese women watched their deference be reduced to an exaggerated docility.  As intrinsically lovely Madama Butterfly is as a creative jewel, for the Japanese people and many others of color, it has also been deeply problematic.

For Matthew Ozawa, Director and Chief Artistic Officer of the Lyric Opera of Chicago, it was as well.  As a Japanese-American director of operatic works, his relationship with Puccini’s masterpiece has been fraught.   He knew intrinsically as a director he could never present it in a conventional way.  If he were ever to take on the challenge of staging the piece, he would do it through more enlightened eyes.  The current production of Madama Butterfly he directs at the Lyric, running through April 12^th, shows how spectacular a 122-year-old classic can look and feel with a total makeover by a gifted artisan.

Ozawa’s Madama Butterfly, co-produced by the Cincinnati Opera, Pittsburg Opera, Detroit Opera and the Utah Opera, dismantles the old format and completely rebuilds it in a contemporary context.  The overhaul was so comprehensive, keeping the original orchestration and libretto unaltered and intact was a condition for greenlighting his vision.   

The Company of Madama Butterfly.

Like many men of his generation, Ozawa loved playing video games growing up.  It wasn’t a leap for him to envision Madama Butterfly taking on the features of a machine generated video game offering a portal to an alternate reality.  Pinkerton (tenor Evan LeRoy Johnson) would travel to Japan through his headset and begin a journey that would lead to the devastating consequences we all know will follow.

But first, like any talented leader, Ozawa needed to assemble a team to bring his concept to fruition.  Based on opening night’s performance at the Lyric, a better dream team probably doesn’t exist.  Recruiting all females as his key collaborators, who were either Japanese or Japanese-American, cultural accuracy and agency would no longer be a concern.  Each of them a heavy hitter in her respective craft, the composite experience they created was so remarkable it could easily be considered revelatory.  The superb impact of Kimie Nishikawa’s set designs and Yuki Nakase Link’s lighting talents made on the production’s visual potency and dynamism can’t be overstated. 

A muted background would suddenly blaze in dramatic color and fill with subtly ornate splendor when Pinkerton donned the goggles that would transport him to Japan. There, Maiko Matsushima’s costume designs bowled you away with their texture, imagination, sophistication and beauty.

Even when we first finally meet Cio-Cio-San, Butterfly, played by Karah Son, we’re visited with the unexpected.  She’s as small and delicate as butterflies are, but in her words and carriage you sense the steel in her spine.  At 15, she may have become a geisha to support herself, but she’s clearly proud of the fact that she’s also “well-bred”.   That inner dignity is an ever-present element of her character. 

Son has played this crucial character in houses around the globe; in her native Korea, Warsaw, Berlin, Bologna, Los Angeles and San Francisco just to list a few.  This production marks her Lyric debut.  She knows this part.  From the excellence of her soprano Saturday night, and the flawlessness of her acting abilities, she is this part.   

Johnson, a wonderful tenor who’s also making his debut at the Lyric, makes a compelling Pinkerton.  He doesn’t quite comprehend the import of his words when Sharpless (Zachary Nelson) tells him to “Be Careful, she trusts you”, until it’s too late.  Finally realizing what that trust has cost releases his humanity.  But it can’t stop the payment deception exacts.

In the final scene, where only pathos is expected, this presentation all but blinds you with the complex beauty of real life through the fiction of a story.  Ozawa’s brilliant directing, Son’s gifts as a marvelous actress/vocalist and Puccini’s stunning score converge to cause the soul to quake.  

Puccini’s Madama Butterfly now truly soars.

Madama Butterfly

Through April 12, 2026

Lyric Opera of Chicago

20 N. Wacker Drive

Chicago, IL  60606

For more information and tickets:   https://www.lyricopera.org

Highly Recommended

This review is proudly shared with our friends at www.TheatreInChicago.com.