Displaying items by tag: Chicago events

Detroit was burning in the summer of 1967, inside one basement, life was still  going on.

That contrast is at the heart of Dominique Morisseau’s Detroit ’67, now being produced by Pulse Theatre Company in residence at eta Creative Arts Foundation. Directed by Pulse Executive Artistic Director Aaron Reese Boseman, with assistance from the wonderful AnJi White, the production takes us into the lives of people trying to maintain some sense of normalcy as their city moves toward upheaval.

The summer of 1967 was a year of enormous social and political upheaval. Detroit’s Black community was confronting racial discrimination, police brutality and economic inequality while the city was experiencing major changes in population, industry and employment.

Then came July 23.

A police raid on an after-hours establishment on Detroit’s 12th Street ignited five days of unrest. The uprising reflected longstanding tensions involving racial discrimination, police-community relations, economic inequality and the changing landscape of the city. Forty-three people died, hundreds were injured, thousands were arrested, and buildings throughout Detroit were destroyed or damaged.

Yet Morisseau doesn't put the uprising on display for us.

Instead, she puts us in a basement and allows us to listen to the people who have something to lose.

And what a basement it is.

Photo Credit: Aaron Reese Boseman

Kevin M. Rolfs has created a remarkably realistic environment for this after-hours joint. An old washer and dryer, a well-used sofa, a period bar, scraps of wood and exposed beams make the space feel genuinely lived in rather than simply designed. Look around and you will find virtually everything you would expect in a 1960s Detroit basement.

Rolfs has proven himself a master designer, and this is among his best work.

Levi J. Wilkins’ lighting design is equally impressive. The basement does not exist in isolation. Light from outside constantly reminds us that another world is happening beyond those walls. The working fixtures inside, combined with changing light through the windows, establish the passage of time with remarkable precision.

Together with Warren Levon’s sound design, Terri Devine’s period-perfect costumes, and Rueben Echoles’ hair and makeup, the production creates an immersive portrait of 1967 Detroit. The design team doesn’t simply tell us we are in Detroit in 1967—they make us feel that we are there.

To say the ensemble is outstanding would be an understatement.

Shenise Danyel, whom I vividly remember as the maid in Invictus Theatre’s The House That Will Not Stand, is exceptional as Chelle, the level-headed sister whose strength anchors the household.

Tamarus Harvell another exceptional  actor, plays Lank, a recent Vietnam veteran carrying dreams and the complicated weight of returning home from war. His presence reflects another reality of 1967: America was deeply immersed in Vietnam, with young men—including many Black and working-class men—being drafted into military service.

Jimiece Gilbert brings confidence and energy to Bunny, the best friend who knows exactly who she is.

Emma Jean Eastlund plays Caroline, a woman carrying secrets beneath the surface.

And then there is Dairyon Bolden as Sly.

Bolden was the biggest surprise for me. He is a genuine scene stealer, commanding every moment he occupies. That is no small accomplishment with a cast of this caliber. Bolden understands that commanding a scene does not necessarily mean being the loudest person in it. His choices are specific, confident and compelling.

Boseman’s direction brings the emotional life of Morisseau’s play to the surface without forcing it. The pacing is deliberate, and his decision to avoid blackouts between scenes works particularly well. The scenes roll smoothly into one another, creating the sense that life in this basement simply continues. There is no interruption between one emotional moment and the next. The outside world may be changing dramatically, but inside this basement, people still have to live, love, argue, dream and make decisions.

That contrast becomes one of the production’s greatest strengths.

The audience knows what is happening outside. The characters know what is happening outside. Yet the basement remains a place of refuge, business, friendship and possibility.

And that makes the history feel personal.

Detroit ’67 is ultimately about much more than an uprising. Through Morisseau’s writing, it becomes a story about people trying to hold onto one another while the world around them changes. The historical events give the play its pressure, but the characters give it its heart.

Pulse Theatre Company’s 2026–27 season is dedicated to examining Black life, family, memory and mental health across generations. Beginning with Detroit ’67, the company has established a compelling foundation for that exploration.

For Pulse Theatre Company, Detroit ’67 is not simply a production about 1967.

It is a reminder that history lives in rooms, in families, in memories—and sometimes, in a basement where the outside world is beginning to burn.

Highly Recommended

When: Through Nov. 1

Monday, Friday & Saturday 7:30pm

Saturday & Sunday 3:00pm

Where: eta Creative Arts Foundation 7558 S. Chicago Ave. Chicago, Ill.

Running time: 2 hours, 30 mins.

Tickets: $25-$40

(872)306-5734

www.pulsetheatrechicago.org

There are some productions you watch, and then there are productions that make your heart swoon and your toe tap. Sheldon Epps’ Play On! is definitely the latter. Now playing at Chicago Shakespeare Theater, this exuberant musical takes Shakespeare’s Twelfth Night, moves it to 1930s Harlem, adds the extraordinary music of Duke Ellington, and transforms the story into a celebration of love, ambition, identity and music.

The magical kingdom of Illyria becomes Harlem, where aspiring songwriter Vy (Hailee Kaleem Wright) arrives with dreams of making it in show business. To get close to the legendary bandleader known as The Duke (Edred Utomi), Vy disguises herself as a man. Complications quickly follow when Lady Liv (Krystal Joy Brown) becomes attracted to Vy's alter ego. Shakespeare's mistaken identities remain at the heart of the story, but Cheryl L. West's book gives the familiar comedy a distinctly African American cultural identity.

West's script is hot and popping, filled with rhythm, humor and personality. She understands that the language of Shakespeare can be transformed without losing the comic machinery that makes Twelfth Night work. The characters may come from Shakespeare, but they walk, talk and move to the syncopated Harlem beat of the 1930s.

And that Harlem beat is everywhere.

The company of Chicago Shakespeare’s production of Play On! Photo by Kyle Flubacker.

The production's exciting choreography by Edgar Godineaux captures the elegance, sophistication and exuberance of the big-band era. The ensemble - Marquez Linder, Selena Robinson, Dylan C. Smith, Joey Stone, Shelbi Voss and Danny Dwaine Wells II - keeps the stage alive with movement and energy. The choreography doesn't simply accompany the music; it becomes part of the storytelling.

The Duke Ellington score is the production's heartbeat. Under the musical direction of Theodis Rodgers Jr., with beautiful orchestrations by Luther Henderson Jr., the music has both sophistication and swing. Ellington's compositions give the characters another way to express what they sometimes cannot say in words.

For me, the Harlem setting brought back a very personal theatrical memory. Play On! reminded me of the very first show I ever worked on, Bubbling Brown Sugar by Loften Mitchell, from a concept by Rosetta LeNoire (my theatre Godmother), in New York City. That experience introduced me to the power of Black theatre, music and storytelling existing together onstage. Watching Play On! brought some of that same feeling back—the excitement of seeing Black history, Black music and Black theatrical expression become one living theatrical experience.

That connection makes Play On! particularly meaningful. This isn't simply Shakespeare with jazz added to it. It is a conversation between William Shakespeare and Duke Ellington, two artists separated by centuries but connected through their understanding of human behavior, love, comedy and the power of performance.

The cast embraces that world beautifully. James Earl Jones II brings comic energy and warmth to Sweets, while Alanna Lovely gives Miss Mary a strong and engaging presence. James Harkness brings charm and theatricality to Jester. Alan H. Green gives Rev authority and comic flair.

At the center, Wright's Vy captures the vulnerability and determination of a young artist trying to discover who she is and where she belongs. Brown's Lady Liv brings glamour and emotional power, while Utomi's Duke possesses the commanding presence of a bandleader who has created his own musical kingdom.

Epps understands that the success of Play On! depends upon allowing Shakespeare's story and Ellington's music to breathe together. The result is a production that feels celebratory without becoming superficial, and contemporary without abandoning its literary foundation.

Play On! is Shakespeare filtered through the cultural richness of 1930s Harlem, propelled by Duke Ellington's music and driven by a syncopated Harlem beat.

It is a joyous reminder that great stories can travel across centuries - and sometimes, when the right music is added, they can still make us want to dance.

Highly Recommended

When: Through Oct. 18

Where: The Yard at Chicago Shakespeare Theater on Navy Pier, 800 E. Grand Ave.

Running time: 2 hours, 20 mins.

Tickets: $55-150

312-595-5600

chicagoshakes.com

American Blues Theater, under the continued leadership of Executive Artistic Director Gwendolyn Whiteside, presents Halloween Boo Bash, its annual costumed fundraiser benefiting artists' wages during Season 41. This popular, all-ages celebration features live performances and ghost stories, trick or treating in the theater, contests, seasonal bites and brews, and more. Halloween Boo Bash will be held on Sunday, October 25, 2026, 4:00pm-7:00pm at the company's home, 5627 N. Lincoln Ave.

Tickets, priced at $35, are available now at americanbluestheater.com.

Highlights of the Halloween Boo Bash include:

Pumpkin Decorating, Costume Parade, Outdoor Games, & Prizes

4:00pm-5:00pm

Guests must provide their own pumpkins. American Blues Theater will have tables, some tools, and paint! You may bring your pumpkin already decorated to enter the contest. Prizes will be awarded for all ages. Costumes are optional. Partygoers wearing costumes will automatically be entered for prizes.

Trick or Treating in the theater, Seasonal Bites, Bevs & Brews

5:00pm-5:30pm

Trick or Treat inside American Blues Theater's home! Guests will also enjoy seasonal bites of sweet, salty, and savory snacks and specialty witches brew and drinks for all age and thirsts.

Karaoke Performances & Campfire Stories by incredible artists

5:30pm-7:00pm

American Blues ensemble and artistic affiliates perform karaoke and campfire stories with spine-chilling flair. Some karaoke spots are available for members of the public.

Email This email address is being protected from spambots. You need JavaScript enabled to view it. to request a slot. Space is limited and subject to availability.

There will be no reserved parking for this event as many of the activities and games will take place in the lot. There is free street parking on Lincoln and neighborhood streets.

To learn more about the Halloween Boo Bash or to make a donation, contact Director of Development Sarajane Johnson at (773) 654-3103 or This email address is being protected from spambots. You need JavaScript enabled to view it..

About Season 41

American Blues Theater's Season 41 opened with the world premiere of Black Girl from a White Suburb, a tour-de-force solo show by Artistic Affiliate Tania Richard, directed by J. Nicole Brooks (September 4 – October 4, 2026). The season continues with the 25^th Anniversary production of Chicago's original holiday hit It's a Wonderful Life: Live in Chicago! (November 19 – December 27, 2026); the world premiere of Ken Urban's Blue Ink Award winner The Conquered, directed by Jonathan Berry (June 11 – July 18, 2027); and the Chicago Premiere of UHURU by Gloria Majule, directed by Mikael Burke (Sept 3 – Oct 10, 2027) Tickets are available through the American Blues Theater box office, online at www.americanbluestheater.com or by calling (773) 654-3103.

Public Programming and Special Events

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 2026, the theater and artists received 265 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.  

Studebaker Theater, P3 Productions and Audible, in collaboration with Teatro Vista Productions, present the Chicago premiere of the groundbreaking, award-winning new hip-hop musical Mexodus, written and performed by Brian Quijada and Nygel D. Robinson, choreographed by Tony Thomas, and directed by David Mendizábal. Mexodus plays a limited three-week run at Chicago's historic Studebaker Theater at the Fine Arts Building, 410 S. Michigan Avenue, from November 7 to November 21, 2026.

Tickets for the Chicago premiere of Mexodus, November 7–21, 2026, are now on sale starting at $36, with discounted student tickets for $20, at FineArtsBuilding.com/Mexodus.

Told through live looping, bold storytelling and sick beats, Mexodus reimagines the Underground Railroad heading south to Mexico—unearthing a powerful, untold chapter of American history. Called an "electrifying theatrical experience" by The New York Times, "thrilling" by The Washington Post and "genius in motion" by the San Francisco Chronicle, this is theater you feel in your body and your bones. Created and performed by Brian Quijada and Nygel D. Robinson, this groundbreaking musical follows a freedom seeker and an unlikely ally as they forge a remarkable bond that transcends borders.

This year Mexodus won four Lucille Lortel Awards including Outstanding Musical, four Outer Critics Circle Awards including Outstanding New Off-Broadway Musical, three Drama Desk Awards including Outstanding Music, one Off Broadway Alliance Award for Best Musical, and one Drama League Award for Outstanding Production of a Musical—the first Off-Broadway musical to win the award in 30 years.

The Chicago premiere follows the musical's critically acclaimed twice-extended run at Audible's Minetta Lane Theatre in New York in 2025 and return Off-Broadway engagement at the Daryl Roth Theatre earlier this year. Mexodus is now available as an Audible Original, featuring the entire musical recorded in immersive Dolby Atmos sound design and extending its reach to millions of listeners around the world.

The Studebaker Theater engagement of Mexodus represents a homecoming for Brian Quijada and Nygel D. Robinson. Quijada is from the Chicago area, and Robinson previously called the city home. An early workshop and developmental performances of the musical were held in Chicago in 2021 and 2023.

"We couldn't be more excited to bring Mexodus to Chicago," said Brian Quijada and Nygel D. Robinson. "Not only do we both have connections to the city, but much of the development of Mexodus happened there. Chicago, pull up!"

Ben Holtzman, Sammy Lopez, and Fiona Howe Rudin of P3 Productions added, "After building such a strong community around the show in New York City, we're thrilled to now bring this bold, original musical to Chicago audiences, especially at the historic Studebaker Theater. It's an honor to continue sharing the show's joy, energy, and message of solidarity with a city that feels so deeply connected to the spirit of Mexodus."

Kate Navin, Audible Head of Creative Development for North America, said: "It has been an honor to share Mexodus with the world, through the Audible Original release and on stage in New York, where it once again took the city by storm. We can't wait to present Brian and Nygel's groundbreaking musical in Chicago, where this work was nurtured during its development. As the production reaches more cities across the United States and listeners globally through Audible, we're continuing to broaden and honor this important story for audiences both in the theater and beyond."

Fine Arts Building and Studebaker Theater Proprietor Erica Berger said, "We are beyond proud to be a Co-Producer on Mexodus, one of the most exciting new musicals in recent memory. Brian Quijada and Nygel D. Robinson are two exceptional artists with strong ties to Chicago. The Studebaker Theater has been a creative home to innovative theater artists for more than 125 years, and bringing Mexodus home to Chicago further emphasizes our commitment to that legacy." Managing Artistic Director Jacob Harvey added, "We're actively building new pathways for how commercial productions can find a home in Chicago. Mexodus is our first co-producer credit on an Off-Broadway production, but it won't be the last. This is a new era for the Studebaker, cementing us as the premier Chicago venue for developmental and acclaimed productions alike."

Artistic Director Wendy Mateo of Teatro Vista Productions said, "Teatro Vista Productions cultivates the telling of stories that accurately reflect our community and increase the authentic representations of us on stage and screen. We are extremely honored to have been a part of the world premieres of Brian's Where Did We Sit on the Bus? and Somewhere Over the Border. So this is a full circle moment for us to help bring Brian and Nygel back to Chicago and to share the story of Mexodus with our audiences."

Mexodus was developed in previous productions at New York Stage and Film (2021), Baltimore Center Stage & Mosaic Theater Company of DC (Spring 2024), and Berkeley Repertory Theatre (Fall 2024).

The creative team for Mexodus includes Riw Rakkulchon (Scenic Design), David Mendizábal (Costume Design), Mextly Couzin (Lighting Design), Mikhail Fiksel (Looping Systems Architecture and Sound Design), Johnny Moreno (Video/Projections Design), Tony Thomas (Choreographer), and Claire Yenson, C.S.A. (Casting). Hope Villanueva is the Production Stage Manager, and theatrical supervision is by Cath Bates with general management by Pemberley Productions.

TICKETS

Tickets for the Studebaker Theater performances of Mexodus are now on sale starting at $36, with discounted student tickets for $20, at FineArtsBuilding.com/Mexodus.

PERFORMANCE SCHEDULE

Saturday, November 7 at 3 p.m. and 7:30 p.m. (press opening)

Sunday, November 8 at 1:30 p.m. and 6:30 p.m.

Tuesday, November 10 at 7:30 p.m.

Wednesday, November 11 at 7:30 p.m.

Thursday, November 12 at 2 p.m. and 7:30 p.m.

Friday, November 13 at 7:30 p.m.

Saturday, November 14 at 3 p.m. and 7:30 p.m.

Sunday, November 15 at 1:30 p.m. and 6:30 p.m.

Tuesday, November 17 at 2 p.m. and 7:30 p.m.

Wednesday, November 18 at 2 p.m. and 7:30 p.m.

Thursday, November 19 at 11 a.m. (student matinee)

Friday, November 20 at 2 p.m. and 7:30 p.m.

Saturday, November 21 at 3 p.m. and 7:30 p.m.

ABOUT P3 PRODUCTIONS

P3 Productions is an award-winning producing team led by Ben Holtzman, Sammy Lopez, and Fiona Howe Rudin, dedicated to uplifting new voices and communities. Broadway productions include CALL ME IZZY, HOW TO DANCE IN OHIO, and JOB. In addition to MEXODUS, upcoming productions include WANTED, INTER ALIA, and THE NINTH WOMAN. Recent co-producing credits include EVERY BRILLIANT THING, ART, SUNSET BLVD., JUST FOR US, and A STRANGE LOOP on Broadway, as well as INTER ALIA, KINKY BOOTS, 1536, SUGAR DADDY, THE IMPORTANCE OF BEING EARNEST, NEXT TO NORMAL, and ORLANDO in London's West End. Learn more at www.p3.productions.

ABOUT AUDIBLE THEATER

Audible Theater makes outstanding performances and powerful storytelling available to live audiences in New York City and millions of people all over the world. Since founding in 2018, Audible Theater's dynamic mix of live and audio theater productions have been praised as "trailblazing" (Variety), "illuminating" (Forbes), and "an exemplary use of the medium" (The Observer).

Audible Theater productions have garnered more than 60 nominations and 14 wins across the theater awards landscape. More than 120 audio theater titles have released on Audible. Audible Theater has produced the multi-award-winning and seven-time Tony Award-nominated musical Dead Outlaw, with music and lyrics by David Yazbek and Erik Della Penna, book by Itamar Moses, conceived by David Yazbek, and directed by David Cromer; Hannah Moscovitch's play Sexual Misconduct of the Middle Classes starring Ella Beatty and Hugh Jackman; Sorry for Your Loss written by and starring Michael Cruz Kayne;  Laura Benanti: Nobody Cares written by and starring Laura Benanti; Alex Newell and the Gospel of a Diva written by and starring Alex Newell; Nostalgia: A Love Letter to NYC written by and starring Eva Noblezada; Girls & Boys starring Carey Mulligan; Harry Clarke starring Billy Crudup; and many others at Audible's Minetta Lane Theatre in New York City. Audible Theater has also produced audio adaptions of acclaimed plays including Colman Domingo's Wild with Happy starring Domingo, Oprah Winfrey, Sharon Washington, Alex Newell, and Tyler James Williams; David Henry Hwang's Yellow Face starring Daniel Dae Kim and Jason Biggs; David Auburn's Summer, 1976 starring Laura Linney and Jessica Hecht; and many more.

In May 2018, Audible announced that the Minetta Lane Theatre in Greenwich Village would serve as its creative home for live performances in New York, with Audible members receiving exclusive access to discounted tickets and related audio content. Since then, Audible has hosted and produced a wide variety of live performances at the Minetta Lane including dramatic plays, comedic shows, original musical performances, and more.

Since June 2017, Audible has commissioned 50 playwrights to receive support from its $5 million Emerging Playwrights Fund dedicated to developing innovative English-language works from around the globe. The initiative enables the creation of original plays driven by language and voice, keeping with Audible's core commitment to elevate listening experiences through powerful performances and extraordinary vocal storytelling. Emerging Playwrights commissions have included Evil Eye by Madhuri Shekar, The Half-Life of Marie Curie by Lauren Gunderson, Good Enemy by Yilong Liu, and more.

ABOUT AUDIBLE, INC.

Audible, Inc., an Amazon.com, Inc. subsidiary (NASDAQ:AMZN), is the leading creator and provider of premium audio storytelling, offering global audiences a powerful way to enhance and enrich their lives through extraordinary content. Audible's catalog includes more than 1,000,000 audio titles, including Audible Originals as well as audiobooks and podcasts from leading studios, print, audio and magazine publishers and world-renowned entertainers.

ABOUT THE STUDEBAKER THEATER

Located inside Chicago's landmarked Fine Arts Building, the Studebaker Theater is one of the city's most historic performance venues, led by Erica Berger and Jacob Harvey. Since its curtain first rose in 1898, the Studebaker stage has been graced by luminaries including Bob Hope, Peter O'Toole, Mae West, Ethel Barrymore, Geraldine Page, Vincent Price and many more. Following a major multi-million-dollar renovation led by Berger Realty Group and completed in 2022, the Studebaker has been home to NPR's popular news quiz show "Wait Wait... Don't Tell Me!" and has hosted performances from new musicals including 44: The Obama Musical, Roald Dahl's The Enormous Crocodile, and Jim Henson's Emmet Otter's Jug-Band Christmas. Other recent productions include Ava: The Secret Conversations starring Elizabeth McGovern and Manual Cinema's Christmas Carol. Learn more at fineartsbuilding.com.

ABOUT TEATRO VISTA PRODUCTIONS

When the Chicago theater world wasn't ready for us, Teatro Vista Productions made space. For 35 years, we've told true stories that reflect our community. We're not just building on this amazing legacy; we are strengthening and expanding it for the future. Today we continue to actively engage in advocacy that seeks to increase the authentic representations of us on stage and screen. Teatro Vista Productions is led by Lorena Diaz (Executive Director), Wendy Mateo (Artistic Director) Cruz Gonzalez-Cadel (Associate Artistic Director) and Carina E. Sanchez (Board President).

Teatro Vista Productions believes artists of color are inherently genius across disciplines, experiences, media and diaspora. We center our collective of artists at the heart of everything we do. We empower them to create with their own voice by providing the tools and resources they need to thrive in the industry. Our work is timely, relevant and reflects our community. Now, as always, We Are Theater With A View. Join us across online channels at @teatrovista to experience the multidisciplinary talents of our Artistic Collective and visit teatrovista.org to stay connected to all things TVP. Pa'lante Juntos. Forward Together.

At intermission, I sent Ken, Buzz Center Stage’s managing editor, a text: “So thankful I made it!! It’s intermission, and if there’s one show anyone sees it should be this.” By the time the lights came up at the end of The Attic, I couldn’t have agreed with intermission-me more.

The idea behind lifelong circus artist Shana Carroll’s autobiographical play began inside a CT scanner. Watching its bridge move in and out of sight above her, Carroll realized how much of her life could be told through the things she had seen while lying on her back. From her childhood bed to her mother’s and her child’s, from motel rooms to hospital rooms, each view from below held another piece of the story she now wanted to tell.

That story became The Attic: Things I’ve Seen While Lying on My Back, Carroll’s onstage memoir now receiving its world premiere in Goodman Theatre’s Albert Theatre. Carroll, a cofounder of Montreal circus collective The 7 Fingers, the company behind the production, also serves as its writer, director and choreographer.

The Attic perfectly walks the line between abstract and concrete storytelling. The pivotal events and overarching themes of Carroll’s life remain clear and accessible, while circus arts and contemporary dance explore the smaller details and dynamics that traditional narration could never fully capture. This is not a play with circus tricks added to it; it is a singular piece of theatre that replaces conventional blocking with a breathtaking physical language.

Tyler Meredith serves as Carroll’s onstage stand-in, carrying nearly the entire narration while moving alongside – and frequently flying among – the rest of the ensemble. Even within such a heavily collaborative production, Meredith deserves special recognition for the sheer feat of guiding the audience through Carroll’s life with such emotional depth, physical precision, and clarity, all while taking part in the circus work herself.

(Top) Anna Kichtchenko. (L-R, bottom) Melvin Diggs, FranAlvarez, Lucy Tan, Santiago Rivera Laugerud and Eduardo De Azevedo Grillo in The Attic at Goodman Theatre.

Still, The Attic cannot have only one star. Every one of its ten performers is essential to creating the world onstage. The remaining nine rarely leave the audience’s sight, and I defy you to find a moment when any of them is truly still. Rather than waiting at the edges of a scene, they continually ebb and flow with Carroll’s memories, moving like a single current that stretches across the entire stage while remaining connected at every point.

Nothing feels like a transition or choreographed scene change, even though every minute contains (no exaggeration) hundreds of precise decisions, from the subtlest shift in focus to a death-defying catch. If every movement executed by just one performer over ten minutes were written down, the resulting document would be longer than this entire review. The level of detail, polish, and commitment is staggering. Live theatre constantly reaches toward the seemingly impossible goal of appearing this intricate and effortless; The Attic achieves it.

Among an ensemble overflowing with talent, Nancy Luna is especially impossible to look away from. A fearless and mesmerizing flyer, she repeatedly launches herself – or is effortlessly launched by Fran Alvarez – into the air with a freedom that makes even the production’s most difficult feats feel instinctive.

The technical elements are equally precise. Projections, lighting and scenic movement distinguish and layer Carroll’s memories without overwhelming the physical storytelling. Even as performers soar and tumble in the background, the production carefully directs the audience’s focus, allowing the spectacle to strengthen the story rather than distract from it.

Although its explorations of illness, motherhood and mortality are geared more toward adults, The Attic offers enough acrobatics, movement and theatrical imagination to captivate nearly anyone. Carroll’s memoir is the beautiful thread connecting each mesmerizing scene, but every individual sequence is remarkable enough to stand on its own.

Plenty of shows claim to keep audiences on the edge of their seats. Shana Carroll’s The Attic earns that phrase in nearly every possible sense. The Attic: Things I’ve Seen While Lying on My Back runs at Goodman Theatre through October 4. Tickets are available at goodmantheatre.org/show/the-attic.

*Extended through October 11th

Babes With Blades Theatre Company’s (BWBTC) announced today new production dates for the final production in its 2026 season, William Shakespeare’s King Lear, directed by Alison Dornheggen and fight choreography by Jess Pennachio, the new dates are now October 22 - November 21 in Theatre 3 at Theater Wit, 1229 W. Belmont. The running time, including intermission, is approximately two hours and 20 minutes. Preview performances are Thursday, Oct. 22 and Friday, Oct. 23 at 8 p.m. The performance schedule is Thursdays – Saturdays at 7:30 p.m. and Sundays at 3 p.m. The open caption performances are Saturday, Nov. 7 at 7:30 p.m. and Sunday, Nov. 8 at 3 p.m. and Thursday, Nov. 12 and Friday, Nov. 13 at 7:30 p.m. The sensory friendly performance is Sunday, Oct. 25 at 3 p.m. with the fully masked audience performance, Sunday, Nov. 1 at 3 p.m. There is no performance on Saturday, Oct. 31. Streaming dates for King Lear will be announced at a future date. Tickets are $28 for students and seniors, $37 for general admission and are on sale at the Theater Wit Box Office, 773-975-8150, or at BabesWithBlades.org. 

King Lear tells the complicated story of a king who divides his kingdom into thirds for his three daughters and the unforeseen struggles from this decision’s aftermath. His unraveling is parallelled by the nefarious journey of a jealous Edmund, who seeks to overtake his nobleman father’s affairs from his half brother. 

“I am thrilled that Babes are sinking their teeth into one of Shakespere’s most complex tragedies," said Artistic Director Hayley Rice. “A quote from King Lear is  “‘Tis the time’s plague when madmen lead the blind,” demonstrating, like so much of Shakespeare’s work, these themes are still painfully relevant today including greed, lust for power, the shortsightedness of our leaders and familial strife. We look forward to welcoming audiences to the final production in our 2026 season with this famous tragedy.”

With storefront theater veteran Lynne Baker (she/her) in the titular role of King Lear, the cast also includes Babes With Blades Theatre Company Ensemble MembersKim Fukawa (she/her, Oswald/Duke of Burgundy, Edgar U/S);Carrie Hardin (she/her, King Lear U/S); Jillian Leff(she/her, Duke of Cornwall); Morgan Manasa (she/her, Earl of Gloucester);Jennifer L. Mickelson (she/her, Duke of Albany/ensemble);Jennifer Mohr (she/her, Cordelia/Fool);Thomas Russell (he/they, Edmund) andKathrynne Wolf (she/her, Earl of Kent). They are joined by, in alphabetical order, Kim Boler (she/her, Goneril); Sarah Cushman (she/her, Goneril/Duke of Albany/ensemble U/S); Dani De la Rosa (she/her; ensemble/Edmund and Duke of Cornwall U/S); Stephanie Mattos (she/her, Edgar); Sophia Lanza-Weil (she/her, Earl of Gloucester/ensemble U/S); Madeline Meyer (she/her; ensemble/Oswald and Kent U/S); Rachel Sleek Bañuelos (she/her, Regan); and Brittani Yawn (she/her, ensemble/Cordelia and Fool U/S).

The production team includes BWBTC ensemble members Line Bower (they/them, technical director); Alison Dornheggen (she/her, director); Hayley Rice (she/her, text coach); Payton Shearn (she/they, production assistant) and Laura J. Wiley (she/her, lighting designer) as well as Adri Andreolas (she/her, assistant stage manager); Jessie Gowens (she/her, costume designer); Hannah Foerschler (she/her, sound designer); Tristan Hall (they/them, intimacy designer); Rose Hamill (she/her, production manager); Morgan Lazlo (they/them, scenic designer); Arielle Leverett (she/her, assistant director); Ryan Liddell (he/him, assistant fight choreographer); Elena Lindeman (they/she, props designer); Grace Elizabeth Mealey (she/her, stage manager) and Jess Pennachio (she/her, fight director).

ABOUT ALISON DORNHEGGEN, DIRECTOR

Alison Dornheggen has been working in the Chicagoland area as a director, actor, fight choreographer and administrator for more than 20 years. She received her degree in directing and acting from Columbia College Chicago and has been lucky to work with companies such as Chicago Shakespeare Theater, Idle Muse Theatre, Mercury Theater, A Red Orchid Theatre, Remy Bumppo Theatre Company, Oak Park Festival Theatre and The Factory Theater among others. She earned her MA in arts management, serving as the Theatre Graduate Fellow at American University in Washington DC and was privileged to work with the Washington Stage Guild, Ford's Theater, the Kennedy Center and award winning composer Peter Lerman. Dornheggen is also part of the theater department faculty at the Chicago Academy for the Arts and has been a proud ensemble member of BWBTC since 2003. 

ABOUT JESS PENNACHIO, FIGHT CHOREOGRAPHER

Jess Pennachio has a B.A in theatre performance from UNC Charlotte and completed the Actor’s Gymnasium Professional Circus Training Program focusing in partner acrobatics and juggling. She is a trained stunt performer and an advanced actor combatant with the SAFD. She has assisted stage combat classes throughout Chicago and across the country. She has worked with Babes With Blades, The Factory Theater, Collaboraction, Rough House, Chicago Danztheatre Ensemble and the Carolina Renaissance Festival. She is a fight choreographer for stage and screen as well as a makeup artist.

ABOUT BABES WITH BLADES THEATRE COMPANY

Babes With Blades Theatre Company, for more than 25 years and moving into the future, strives to develop and present scripts focused on complex, dynamic (often combative) characters who continue to be underrepresented on theatre stages based on gender. Babes With Blades Theatre Company uses stage combat to tell stories that elevate the voices of underrepresented communities and dismantle the patriarchy.

In each element of its programming, BWBTC embraces two key concepts:

1)     Folks of marginalized genders and underrepresented communities are central to the story, driving the action rather than responding or submitting to it and

2)     Everyone is capable of a full emotional and physical range, up to and including violence and its consequences.

The company offers participants and patrons alike an unparalleled opportunity to experience every person as heroes and villains; rescuers and rescues; right, wrong and everywhere in between: exciting, vivid, dynamic PEOPLE. It’s as simple and as subversive as that.

LAND ACKNOWLEDGEMENT STATEMENT:

Babes With Blades Theatre Company produces theatre in venues located on the traditional homelands of the Council of the Three Fires: the Ojibwe, Odawa and Potawatomi Nations. Many other tribes such as the Miami, Ho-Chunk, Menominee, Sac and Fox also called this area home. This region that we now commonly refer to as “The Chicagoland Area”, has long been a center for Indigenous people to gather, trade and maintain kinship ties. Today, one of the largest urban Native American communities in the United States resides in Chicago. Members of this community continue to contribute to the life of this city and to celebrate their heritage, practice traditions and care for the land and waterways.

Babes With Blades Theatre Company’s (BWBTC) announced today new production dates for the final production in its 2026 season, William Shakespeare’s King Lear, directed by Alison Dornheggen and fight choreography by Jess Pennachio, the new dates are now October 22 - November 21 in Theatre 3 at Theater Wit, 1229 W. Belmont. The running time, including intermission, is approximately two hours and 20 minutes. Preview performances are Thursday, Oct. 22 and Friday, Oct. 23 at 8 p.m. The performance schedule is Thursdays – Saturdays at 7:30 p.m. and Sundays at 3 p.m. The open caption performances are Saturday, Nov. 7 at 7:30 p.m. and Sunday, Nov. 8 at 3 p.m. and Thursday, Nov. 12 and Friday, Nov. 13 at 7:30 p.m. The sensory friendly performance is Sunday, Oct. 25 at 3 p.m. with the fully masked audience performance, Sunday, Nov. 1 at 3 p.m. There is no performance on Saturday, Oct. 31. Streaming dates for King Lear will be announced at a future date. Tickets are $28 for students and seniors, $37 for general admission and are on sale at the Theater Wit Box Office, 773-975-8150, or at BabesWithBlades.org. 

Open Space Arts presents BEFORE WE ARE HISTORY, a three-week theatrical exploration of LGBTQ+ theater created during and in response to the AIDS crisis, running October 23 through November 8, 2026, at Open Space Arts, 1411 W. Wilson Ave. in Chicago.

The project brings together plays that captured the lives, relationships, sexuality, fear, humor, friendship and resilience of gay men as AIDS transformed their communities, alongside work by artists whose lives and writing continue to carry the history of the epidemic into the present. It grew from a desire to revisit theatrical works that were once urgently connected to LGBTQ+ audiences but are now seldom produced.

While a small number of AIDS-related plays have become firmly established within the theatrical canon, many other plays — along with the artists, small theaters and communities that created them — risk disappearing from cultural memory.

BEFORE WE ARE HISTORY asks what happens when these works are heard again, forty years later.

The title reflects the urgency behind the project: an opportunity to revisit this work while many of the artists, activists, audience members and community members who experienced this period are still able to share their memories and perspectives — and while a new generation of LGBTQ+ artists can encounter the people and work that helped blaze the trail before them.

Selected performances will be followed by conversations involving artists, activists, historians and community organizations, connecting the plays with both the history of the AIDS epidemic and the continuing realities of HIV today.
Additional panelists, community partners, casting and special programming will be announced. 

Tickets and complete performance information are available at OpenSpaceArts.org.

BEFORE WE ARE HISTORY includes a one-weekend double bill of Jeff Hagedorn's ONE and Lee Raines' BLOOD SPILL; a two-weekend run of Robert Chesley's JERKER, OR THE HELPING HAND; and a special one-night staged reading of Robin Swados' A QUIET END.

The project marks the 40th anniversary year of both JERKER and A QUIET END, two important works created as American theater began confronting the AIDS epidemic directly.

A portion of ticket revenue and additional donations from BEFORE WE ARE HISTORY will benefit Chicago Black Men's Caucus, Vivent Health + TPAN, and Season of Concern.

DOUBLE-BILL OF "ONE" AND "BLOOD SPILL"
October 23–25, 2026
Friday, October 23 at 7:30 p.m.
Saturday, October 24 at 7:30 p.m.
Sunday, October 25 at 3 p.m.
Tickets $30 General Admission, $25 students and seniors, on sale now at www.openspacearts.com
 
ONE
by Jeff Hagedorn
Directed by Rory Brady
 
BEFORE WE ARE HISTORY opens with a double bill of ONE and BLOOD SPILL. ONE is  Jeff Hagedorn's groundbreaking solo play about a young man attempting to understand and confront his AIDS diagnosis at a time when the disease itself was still frighteningly new.

First produced in Chicago by Lionheart Gay Theatre Company in 1983, ONE is recognized as one of the earliest publicly produced theatrical works about AIDS.

Milwaukee-born Jeff Hagedorn relocated to Chicago in the early 1980s and became a founding member and resident playwright of Lionheart Gay Theatre. He went on to write numerous plays addressing gay life and the effects of AIDS on the community. His later work included THE LAYMAN'S GUIDE TO SAFE SEX, which combined humor and education at a time when providing accurate information about safer sex had become a matter of life and death. Hagedorn also formed the production company SYZYGY, which helped revive Chicago's pub-theater tradition. He died of an AIDS-related illness in 1995.

Rory Brady (he/him, pictured left)) is an up-and-coming theatre creative. Born in Erie, Pennsylvania, he first became involved in theatre at the age of five, appearing as an Oompa Loompa. Now, he teaches children that same age.

Rory's work was last seen at Open Space Arts when he directed the staged reading of LIVING THE DREAM. He is very excited to return to OSA and to work on such an important historical piece.

Rory has been enlightened by this play, as well as by other queer media that has introduced him to the people who blazed the trail for his generation.

BLOOD SPILL
by Lee Raines
Directed by Byron Stewart
Presented with ONE, Lee Raines' BLOOD SPILL brings another AIDS-era voice into the conversation.
 
Set in New York in 1992, the play follows HIV-positive playwright Kenny King as he confronts Angela Turner, an old college friend who has become the
artistic director of a major theater company. Kenny arrives with a deeply personal AIDS play, only to discover that Angela's theater has chosen work it considers safer and more accessible to its audience.

Their reunion becomes an increasingly heated confrontation over art, AIDS, institutional responsibility and who gets to decide which stories are acceptable for the stage. Beneath the argument lies Kenny's experience caring for a dying friend — and the anger, guilt and helplessness that fueled the work he has written.

BLOOD SPILL was developed through Write It Out!, the playwriting program for writers living with HIV founded by Donja R. Love. Raines was a member of the program's first cohort and has continued working with the organization in artistic programming and outreach.

Lee Raines is a playwright, theater artist, former ACT UP member and longtime HIV survivor who was diagnosed in 1989. His participation gives BEFORE WE ARE HISTORY a living connection between the artists who experienced the AIDS era and the effort to preserve those stories for audiences today.

Byron Stewart (left) is a Chicago director, actor and educator. He is co-founder and Artistic Director of A Real Read and has also served as Artistic Director of Sex Police. His work in Chicago theater has encompassed directing, performance and the development of work centered on Black and LGBTQ+ voices.

JERKER, OR THE HELPING HAND
40th Anniversary Production
by Robert Chesley
Created and performed by Jason Bowen and Joshua Bowen
October 29-November 8
Thursdays-Saturdays and Monday November 2 at 7:30 pm, Sundays at 3:00pm
Tickets $30 General Admission, $25 students and seniors, on sale now at www.openspacearts.com
 
At the center of BEFORE WE ARE HISTORY is Robert Chesley's JERKER, OR THE HELPING HAND, one of the most provocative and enduring theatrical works to emerge from the AIDS crisis.

The play follows J.R. and Bert, two gay men who develop an increasingly intimate relationship entirely through telephone calls. What begins with anonymous sexual fantasy slowly becomes affection, friendship and emotional dependence as AIDS reshapes the world around them.

Robert Chesley (1943–1990) was a playwright, composer, critic and advocate for gay sexuality at a time when AIDS increasingly associated sex with fear, illness and death. Trained as a musician, Chesley composed extensively before turning to theater and wrote criticism and essays for gay publications as well as plays centered on gay men, desire and AIDS.

His NIGHT SWEAT, produced in New York in 1984, was among the earliest full-length plays to confront AIDS. In 1986, excerpts from JERKER were broadcast by Los Angeles radio station KPFK. The explicit sexual language triggered a major censorship dispute involving the Federal Communications Commission, placing the play at the center of a national debate over sexuality, artistic expression and broadcasting.

Chesley died of an AIDS-related illness in San Francisco in 1990 at age 47. His work remains striking for its refusal to portray gay sexuality as something shameful or incidental, even in the midst of an epidemic.

Open Space Arts presents JERKER in recognition of the play's 40th anniversary, created and performed by brothers Jason Bowen and Joshua Bowen.

A QUIET END
Special 40th-Anniversary Staged Reading
Tuesday, November 3 at 7:30 p.m.
by Robin Swados
Director to be announced
Pay-what-you-can
 
BEFORE WE ARE HISTORY also includes a special pay-what-you-can staged reading of A QUIET END, Robin Swados' deeply human drama about three gay men living together during the early years of AIDS.
The play examines friendship, chosen family, anger, illness, love and mortality as the men confront an epidemic rapidly reshaping their lives and relationships.

A QUIET END is Robin Swados's first play. It has received wide praise for productions including Theater-off-Park, New York; International City Theater, Los Angeles; Offstage Theater Center, London; American Repertory Theater, Amsterdam (which he also directed); Repertory Theater of St. Louis (Best New Play 1987, St. Louis theater critics); and the Weekend Theater, Little Rock, among others.

A QUIET END has been included in BEST MONOLOGUES FOR MEN; BEST SCENES FOR MEN; anthologized in GAY & LESBIAN PLAYS TODAY; and is the focus of an entire chapter of Robert Vorlicky's ACT LIKE A MAN: CHALLENGING MASCULINITIES IN AMERICAN DRAMA (University of Michigan Press, 1995).

Robin Swados lives in Amherst, Massachusetts.

Open Space Arts presents A QUIET END during its 40th anniversary year.

ABOUT OPEN SPACE ARTS
Open Space Arts is a Chicago-based arts organization presenting theater, film, readings and special cultural events with a particular commitment to LGBTQ+ artists and stories.

From its intimate Uptown storefront, Open Space Arts creates opportunities for artists and audiences to encounter new work as well as significant works that might otherwise disappear from Chicago stages.

The greatest holiday show south of the North Pole returns for its 9th year with another brand spankin' new wintertide wonder! Award-winning comedy icons, writers, actors, and drag queen powerhouses BenDeLaCreme & Jinkx Monsoon are coming back to town with the wildly successful, internationally acclaimed, The Jinkx & DeLa Holiday Show (BenDeLaCreme Presents). Directed, produced, and written by BenDeLaCreme, this year's show will tour 30 cities across the U.S. and Canada from November 6 - December 30 in major theaters. 

Tickets are on sale now at JinkxandDeLa.com. VIP Packages, including a photo opportunity with the stars, are only available to purchase separately at JinkxandDeLa.com with proof of ticket purchase.  

Throughout the show's 9-year history, Jinkx and DeLa have met sentient Christmas treats, twisted space-time with Dickensian Ghosts, ventured to the Nutcracker's Land of Sweets, as well as survived immaculate conceptions, A.I., body swaps, and elf attacks. You never know what wild and unexpected sleigh ride these queens have in store. Whatever the twists and turns, fans can expect another year of over-the-top camp spectacle, side-splitting gags, brand new songs, heartfelt storytelling, thrilling dance numbers, and iconic costumes. Hailed by Entertainment Weekly as "the reigning queens of Christmas," this show is not only a moment of respite, but a celebration of community, at a time when we need it most of all.

This year, fans will also get the chance to bring the magic of the Jinkx & DeLa Holiday Show home with the forthcoming book, HOW THE QUEENS MADE CHRISTMAS: A Raunchy Holiday Romp for Festive Adults! written by BenDeLaCreme. Publishing on October 20th via Chronicle Books, HOW THE QUEENS MADE CHRISTMAS follows the adventures of the two queens as they find themselves mysteriously trapped in a book with only one way out: together! Through rhyming text and candy-colored illustrations, they spar through the challenge of creating a winning Christmas story—dashing through double entendres and many costume changes along the way. Bright, bawdy, and heartwarming, the book captures the subversive joy of the beloved queer holiday tradition for those who want to experience that very special Jinkx and DeLa cheer any time of year. HOW THE QUEENS MADE CHRISTMAS will include a bonus section of behind-the-scenes photos and lyrics from three of Jinkx and DeLa's singable original songs. Also publishing at the same time, a new book of twelve pop-out hanging ornaments featuring sassy holiday tips and quips to countdown the season in style.

BenDeLaCreme says, "This year marks our 8th touring production, and my relationship with the 'Jinkx & DeLa Holiday Show' feels just as fresh as it did when we started back in 2018. It's no easy feat to mount a brand new show every year but we owe it to our audiences who continue to return and bring new folks along the way. For the past 9 years, 'The Jinkx & DeLa Holiday Show' has given back to us what we hope to give out every holiday season: joy, community, lots of laughter, and a space to uplift each other. I love what I get to do as an entertainer, writer, director, producer, and now author, but it means nothing without the connection we have with our community. That connection is what drives us, and will continue to as we approach next year's 10th anniversary."

Monsoon adds, "Nine years, where does the time go?! You'd think it would feel like a daunting task, but every year, around this time, DeLa and I start getting excited that our time together is coming again. Somehow, every year, our amazing company makes something spectacular that exceeds even our own expectations — then we get to share it with our community at a very meaningful time. What a great way for a witch to spend the solstice."

The Jinkx & DeLa Holiday Show is written by BenDeLaCreme with additional writing by Jinkx Monsoon, directed by BenDeLaCreme, and produced by BenDeLaCreme Presents (a company comprised of producers BenDeLaCreme, Kevin Heard, Gus Lanza, and Associate Producer Jin Moon). This year's tour marks the dynamic duo's 8th live holiday show production, following the massive success of seven previous holiday tours, and cult-classic holiday film The Jinkx & DeLa Holiday Special in 2020. Since its inception, The Jinkx & DeLa Holiday Show has premiered a brand new show every year – a major achievement for two drag artists who tour annually at this scale.

For more information, visit jinkxanddela.com and follow on Instagram and TikTok. 

December 6 - Chicago, IL – Auditorium Theatre

“Great Balls of Fire!” Chicago audiences have just one last chance to catch Paramount Theatre’s immersive musical Million Dollar Quartet, returning more than two years after its smash hit debut for a final run and holiday season comeback, October 7, 2026 - January 3, 2027.

Four legends. One night. Music history made. Don’t miss this last chance to experience one of the most popular jukebox musicals of all time. Four incredibly talented actor/musicians bring Johnny Cash, Jerry Lee Lewis, Carl Perkins and Elvis Presley back to life as they navigate the intricacies of fame, while delivering incredible, up-close performances of some of the best songs in rock ‘n’ roll history, including “Blue Suede Shoes,” “Folsom Prison Blues,” “I Walk the Line,” “Hound Dog” and “Great Balls of Fire.”  

Paramount’s radically intimate restaging of Million Dollar Quartet was custom built for Paramount’s new 99-seat Stolp Island Theatre so audiences can say “I was there!” Starting October 7, performances are Wednesday at 1:30 p.m. and 7 p.m., Thursday and Friday at 7 p.m., Saturday at 2 p.m. and 7 p.m., and Sunday at 1 p.m. and 5:30 p.m. Exceptions: No show Thursday, November 26 (Thanksgiving). Added matinee Friday, November 27 at 2 p.m. No shows December 24 or 25 (Christmas Eve and Christmas). Show time Thursday, December 31 (New Year’s Eve) is at 2 p.m.

Paramount’s Stolp Island Theatre is located at 5 E. Downer Place, Suite G, in downtown Aurora, with restaurants and easy, affordable parking just a short walk away.

All seats are $87 when purchased in person. Additional fees apply for phone and online orders. For tickets and information, visitParamountAurora.com, call (630) 896-6666, or stop by the Paramount Theatre box office, 23 E. Galena Blvd., Monday–Saturday, 10 a.m. to 6 p.m., and until show time on show days. Note: Tickets and group outings make excellent holiday gifts.

Tis' the season for laughter and cheer! The Second City is decking its holiday lineup with shows for every sense of humor; including two hilarious holiday shows that promise big laughter for all ages. Whether you're craving a nostalgic night out or starting a new holiday tradition, The Second City makes any winter outing merry and oh, so bright.

Make hilarious holiday memories with The Second City. Save 25% on tickets to Not Today, Santa and Pandemonium, Please Hold in December if booked between September 17 and October 9. Use code HOLIDAY2026 at checkout.

For showtimes and tickets please visit secondcity.com or call our box office at (312) 337-3992. The Second City is located at 1616 N. Wells Street.

The Second City's Holiday Lineup
Not Today, Santa
November 25 – December 28, 2026
Tickets start at $45.

Not Today, Santa is The Second City's ultimate holiday comedy celebration, featuring a merry mix of fan-favorite sketches, sharp satire, and festive fun. Packed with laughs for anyone who has survived a family holiday gathering, this seasonal revue is the perfect holiday outing for friends, families, and office parties alike.

Rudolph Runs Wild
November 27 – December 27, 2026
Tickets are $30.

Share silliness this holiday season with Rudolph Runs Wild, a jolly extravaganza for kids, parents, grandparents, aunts, uncles, and reindeer of all ages! Featuring a fun and festive blend of family-friendly songs and sketches from The Second City's rich comedy archives, fresh new material written specifically for young audiences, and – of course – the ridiculous improv hijinks The Second City is world famous for. Brighten your winter with this one-of-a-kind interactive theatrical experience offering audience members, young and old, the chance to enjoy the comedy fun both from their seats and by joining The Second City performers onstage!

Also Playing at The Second City
Searching for mistletoe free options? We get it! Beat the Scrooge accusations by seeing Second City's hit revues Pandemonium, Please Hold and Reality Detox: The Improv Experience. It's the perfect date night plan without the holiday overload. Turn bah humbug into a night full of laughter with these hit shows.

Pandemonium, Please Hold
Open Run
Tickets start at $40.

The Second City's 114th Mainstage Revue Pandemonium, Please Hold is a loud, fast, and gloriously unhinged night of comedic mayhem. The Second City's six-person cast cranks the amps and stage dives headfirst into the chaos with blistering sketch comedy, unpredictable improv, explosive live music, and absolutely zero chill. Cathartic and wildly funny, brace for pandemonium and join us for a night of full-volume hilarity. Come scream into the abyss with us.

Reality Detox: The Improv Experience
Open Run
Tickets start at $40

Reality Detox: The Improv Experience is a high-energy night of improvisation from The Second City, with a few sketch surprises mixed in along the way. Built fresh each night and shaped by the people in the room, every performance is different from the last. Funny, fast, and wildly unpredictable, it's a chance to escape reality and enjoy a night of laughter. Come be part of the comedy magic.

About The Second City

The Second City opened its doors in 1959 as a small comedy cabaret and has since grown to become the world's most influential name in improv and comedy. Second City's stages, Touring Companies, and Training Centers across North America have proudly been the launch pad for many of the funniest names on the planet, including John Belushi, John Candy, Steve Carell, Stephen Colbert, Chris Farley, Tina Fey, Keegan-Michael Key, Eugene Levy, Tim Meadows, Bill Murray, Mike Myers, Suzy Nakamura, Catherine O'Hara, Amy Poehler, Gilda Radner, Sam Richardson, Joan Rivers, Amber Ruffin, Robin Thede and Steven Yeun, among many more.