Displaying items by tag: Events Chicago

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. 

Since its original 2020 Off-Broadway debut was postponed until 2024 by the Covid-19 Pandemic, Itamar Moses’ “The Ally” has likely ripened in its effectiveness. Not because the play has changed, but because the world has.

A 2025 Pulitzer finalist, now in its Midwest premier at Theater Wit, it revolves around the ambivalence of Jewish college writing professor Asaf (Jordan Lane Shappell in a sterling performance) as his Black student Baron (DeVaughn Asante Loman) asks him to sign-on to a manifesto decrying the killing of his cousin by campus police.

Initially sympathetic to this cause, Asaf becomes reluctant to sign on, even though he agrees with its indictment of systemic injustice against people of color. His sticking points? A section ties in charges against Israel for operating an apartheid state vis a vis Gaza, condemning what it describes as policies of genocide against Palestinian people—even more timely topics today given current political discourse and a war in Iran.

Through a fast-paced dialog, the playwright puts on stage detailed explications of points of view that are known to trigger family battles during holiday dinners, or have become verboten altogether in the interests of peaceful coexistence. There seems nowhere safe to listen to opposing positions.

But not so on the stage in “The Ally.” Expertly directed by Jeremy Weschler, who has led a stellar cast to precision delivery with impeccable timing, this production is remarkable simply on the basis of how well rehearsed the performers seem to be in a complicated, granular script.

In publicizing the play, Weschler says, "Before October 7th, I — like a lot of American Jews on the left — held two ideas at once: that Israel was a haven and that the occupation was wrong. Itamar Moses saw, honestly before I did, that those two ideas were becoming impossible to hold simultaneously. But there are always two ways to answer the question ‘What do I believe?': what do I think, and what do I feel? Where we land on that spectrum is a constant negotiation between ourselves and the world around us. What ‘The Ally’ asks — what it really demands — is that we face that negotiation honestly. Can we be good people when our hearts and our heads aren't aligned?”

In the main setting, a library meeting room, impassioned, invested characters put forth their positions. Most have direct experience of that about which they speak. This is both enthralling and compelling, emotionally engaging at the peak moments, as we hear them passionately expounded their positions. Each felt equally compelling, even though they are often diametrically opposed.

Moses is a skillful playwright. He has wrapped the political discourse in a romantic drama, the relationship between Asaf and his wife Gwen (K Chinthana Sotakoun), a faculty member who is of Asian descent. The play opens with a skillful rendering of a couple tentatively probing and challenging each other in a very realistic way.

That scene changes from the living room to campus. Having heard from Baron, and as Asaf tussles with signing the manifesto, the playwright ups the stakes. Palestinian student Farid, (Arman Ghaeini) and his “ally” (a recurring theme) Jewish student Rachel (Mira Kessler), ask Asaf to support the appearance of a noted speaker who questions Israel’s actions in Gaza. Asaf agrees to be their student group sponsor authorizing the speaker.

When Reuven (Evan Ozer) a Jewish PhD student, discovers this, he barges in on Asaf to lay out all the reasons this speaker should not be allowed to address the student body. While Israel may seem brutal at home, he contends, one must think of it in context: Israel is surrounded by middle eastern states that oppose its very existence. Any presentation that might undermine Israel’s welfare should be banned.

Moses’s script is designed to give each of the characters a long moment in the spotlight. For relief he reverts to scenes between Asaf and Gwen. Each of the characters is articulate and brilliant. When Reuven makes his case for Israel, for example, he also recounts accurately the arguments of its opposition as he dispels them.

Most intriguing, and emotionally compelling, is Farid. In his first few appearances he is reticent, retreating, polite. But when the playwright offers him his featured monolog, Farid expresses the suffering of Palestinians, and then, moves to a vehement display of their anger. Arman Ghaeini runs away with this scene, engendering from me empathy and even catharsis. When have I heard this expressed? Never before.

Likewise for Baron, who is generally rather laconic. As the debates on stage progress over the connections between the Israel-Palestinian conflict and racial injustice in the U.S., Baron has his moment for a passionate peroration, and Loman's delivery is powerful.

Throughout, Asaf remains the buffeted everyman, conscious of the warring sympathies within himself, and unable to resolve them. The play has some weaknesses as a drama—an old flame now community activist Nikea (Sharyon Culberson) appears, igniting jealousy in Gwen. But as an expression of the struggle we experience societally, through the vehicle of the conflicted Asaf—that weakness doesn’t hamper the impact and value of “The Ally.”

It is worth noting “The Ally” was written before the Hamas strike against Israel in October 2023. That event killed 1,200 and saw 251 taken hostage. In its subsequent defense, Israel has retaliated and sought to destroy Hamas, killing 73,000 Palestinians and isolating Gaza. Also noteworthy: this Chicago production is only the second staging of the work. Perhaps its incendiary subject makes producers skittish.

But “The Ally” has a heightened immediacy today, and should be seen. Highly recommended, “The Ally” runs through May 2, 2026 at Theater Wit in Chicago.

Extended through May 17th!

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

Auditorium Philms’ presentation of Steven Spielberg’s 1981 classic Raiders of the Lost Ark with the Chicago Philharmonic Orchestra transforms a beloved blockbuster into a full‑body cinematic jolt. Indiana Jones’ adventures play out across the towering Auditorium Theatre screen, but it’s the live orchestra that makes the familiar feel astonishingly new. John Williams’ legendary score doesn’t just sit beneath the film—it surges through it, electrifying every frame. Each chase, each narrow escape, each sweeping desert vista lands with heightened force as the Philharmonic unleashes the “Raiders March” and the score’s darker, more mysterious undercurrents with breathtaking clarity. The result is an experience that feels both nostalgically rooted in movie history and thrillingly alive in the present moment.

Set in 1936, Raiders of the Lost Ark follows archaeologist and adventurer Indiana Jones (Harrison Ford) as he’s recruited by U.S. Army Intelligence to locate the Ark of the Covenant, a biblical artifact believed to hold immense supernatural power. The Nazis are already searching for it, hoping to harness its destructive force for their military ambitions.

Indy’s quest takes him from the jungles of South America to the snowy mountains of Nepal and the bustling streets of Cairo. Along the way, he reunites with his tough, resourceful former flame Marion Ravenwood (Karen Black), and together they battle traps, treachery, and relentless Nazi agents. Standing in Indy’s way is his rival, the suave and morally slippery archaeologist René Belloq (Paul Freeman), who has aligned himself with the Nazis to claim the Ark for his own purposes.

The adventure barrels toward a race‑against‑time finale as Indy fights to keep the Ark out of enemy hands—culminating in one of the most unforgettable climaxes in action‑adventure cinema.

The stunning Auditorium Theatre amplifies the magic, its grand acoustics allowing the orchestra’s sound to bloom without ever overpowering the action onscreen. The coordination between musicians and film is so precise that it feels as though the score is being created in the moment, perfectly synced to every crack of Indy’s whip and every pulse‑pounding twist. The result is a seamless blend of concert and cinema, a reminder of just how essential Williams’ music is to the film’s spirit, humor, and sense of adventure.

Conductor Thiago Tiberio.

Brazilian conductor Thiago Tiberio brings remarkable artistry and precision to the podium, making him one of the standout talents in the world of film‑in‑concert performance. Known for his expert live‑to‑picture synchronization, Tiberio has led orchestras in acclaimed presentations of Star Wars, The Nightmare Before Christmas, Coco, Lord of the Rings, and other major studio projects across the globe. His background spans opera, multimedia productions, and award‑winning work recognized by organizations including the United Nations. What truly distinguishes Tiberio is his dynamic presence and emotional clarity - he draws rich, expressive playing from musicians and elevates every score he touches, turning familiar soundtracks into thrilling live experiences.

Each time Indy charges onto the screen with a burst of heroism - or the Chicago Philharmonic unleashes a perfectly rendered cue from Williams’ score - the audience responds as one. Cheers ripple through the theatre, a spontaneous wave of energy that makes the experience feel communal and electric.

Whether you’ve seen Raiders a dozen times or are discovering it for the first time, this live‑orchestra presentation is a joyous celebration of movie magic - an electrifying tribute to one of Hollywood’s most enduring collaborations.

As a newly crowned favorite way to experience a film classic, Auditorium Philms makes a strong case for returning again and again. Their upcoming slate keeps the magic alive, offering even more opportunities to see iconic movies reimagined through the power of live orchestral performance. Keep an eye on their calendar - you won’t want to miss the cinematic treasures still to come.

Saturday, May 16, 2026 • 7:30 PM
Auditorium Philms Presents
Rocky In Concert – 50th Anniversary
with the Chicago Philharmonic

Saturday, September 26, 2026 • 7:30 PM
Auditorium Philms Presents
Top Gun: Maverick

Saturday, October 24, 2026 • 7:30 PM
Auditorium Philms Presents
Edward Scissorhands In Concert – Live to Film
with the Chicago Philharmonic

Saturday, December 19, 2026 • 7:00 PM
Auditorium Philms Presents
Home Alone 2: Lost in New York – Live in Concert

For tickets and/or more information, visit https://www.auditoriumtheatre.org/events/buy-tickets/auditorium-philms.

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.