Displaying items by tag: live theatre

For the first time in company history, Oak Park Festival Theatre presents two productions in repertory: William Shakespeare's HAMLET and Oscar Wilde's THE IMPORTANCE OF BEING EARNEST.

Though separated by centuries and radically different in tone, both plays explore questions of identity, performance, truth, and societal expectation. Presented on alternating evenings throughout the summer, the productions invite audiences to experience two of the theatrical canon's most enduring works in conversation with one another. 

In HAMLET, Prince Hamlet returns home following his father's death and his mother's swift revenge, only to discover a kingdom haunted by betrayal, suspicion, and revenge. 

In THE IMPORTANCE OF BEING EARNEST, Jack Worthing and Algernon Moncrieff navigate a web of mistaken identities, secret engagements, and social satire as they attempt to win the affections of two very particular women. 

HAMLET

Written By: William Shakespeare

Directed By: Peter G. Andersen

Cast: Brew Bos (Hamlet), Brenna Distassio (Laertes), Olive Gallagher (Ophelia), Pedro Jimenez (Rosencrantz), Gabriel Armstrong (Guildenstern), Patrice Egleston (Polonius), Jodi Gage (Gertrude), Josh Carpenter** (Claudius), Lucas Prizant (Horatio), and Charls Sedgwick Hall** (Ghost/Player/Gravedigger)

Understudy Cast: Lucas Prizant (Hamlet), Avery Dulak (Laertes), Anya Moeske (Ophelia), Ben Crane (Rosencrantz/Guildenstern), Julia Rowley (Polonium/Gertrude), August Foreman (Claudius/Ghost/Player/Gravedigger), Jamille Calixte (Horatio).

Production Team: Patrick Starner (Production Manager), Andy Cahoon (Technical Director), Tessa Huber  (Stage Manager), Chrissy Roy (Assistant Stage Manager), Devin Cameron (Lighting Director), Evan Frank (Scenic Designer), Taylor Pfenning (Costume Designer) Duncan Hon (Master Electrician), Trent Jones (Scenic Painter), Sophia De La Torre (Board Mixer), and Jack Short (Box Office Manager).

** Denotes Membership in Actors' Equity Association

Dates: July 1 – August 15, 2026 (previews July 1, July 3)

Schedule: Tuesdays, Wednesdays, Thursdays, Fridays, and Saturdays at 8 p.m. and Sundays at 7 p.m. Select dates only. See website for complete schedule.

Location: Austin Gardens, 167 Forest Ave, Oak Park, IL 60302

Tickets: General Admission ($40); seniors ($30); students ($15); previews ($20); children under 12 ($5). Group discounts available for groups of 10 or more. Additional booking fees apply. 

Box Office: www.oakparkfestival.com 

THE IMPORTANCE OF BEING EARNEST

Written By: Oscar Wilde

Directed By: Kathryn Walsh

Cast: August Foreman (Algernon), Chad Bay (Jack), Sonia Goldberg (Gwendolyn), Aurora Pennepacker** (Cecily), Drew Bos (Merriman/Lane), Barbara Zahora** (Lady Bracknell), Gabriel Armstrong (Chausible), and Jodi Gage (Miss Prism). 

Understudy Cast: Gabriel Armstrong (Algernon), Pedro Jimenez (Jack), Olive Gallagher (Gwendolyn/Cecily), Evan Ozer (Merriman/Lane/Chasible), Belinda Bremner (Lady Bracknell), Julia Rowley (Miss Prism).

Production Team: Patrick Starner (Production Manager), Andy Cahoon (Technical Director), Chrissy Roy (Stage Manager), Tessa Huber (Assistant Stage Manager), Devin Cameron (Lighting Director), Evan Frank (Scenic Designer), Phoebe Boynton (Costume Designer) Duncan Hon (Master Electrician), Sophia De La Torre (Board Mixer), and Jack Short (Box Office Manager).

** Denotes Membership in Actors' Equity Association

Dates: June 30 – August 14, 2026 (previews June 30, July 2, July 4)

Schedule: Tuesdays, Wednesdays, Thursdays, Fridays, and Saturdays at 8 p.m. and Sundays at 7 p.m. Select dates only. See website for complete schedule.

Location: Austin Gardens, 167 Forest Ave, Oak Park, IL 60302

Tickets: General Admission ($40); seniors ($30); students ($15); previews ($20); children under 12 ($5). Group discounts available for groups of 10 or more. Additional booking fees apply. 

Box Office: www.oakparkfestival.com 

When Terry Guest left Atlanta and arrived in Chicago ten years or so ago, a bracing reality check caused the young actor to make a bold pivot.  Three years of auditions and zero bites on the acting front, he turned himself into a playwright and used a deceased uncle as his inspirational muse.  At the Wake of a Dead Drag Queen was born, with Guest placing himself in the starring role.  Rave reviews, real recognition and an impressive collection of Jeff Awards followed.  As they used to say during the dawn of space exploration, “Houston, we have liftoff.”

That was in 2019 and since then the actor and playwright has been exploring other opportunities to extend his keenly astute vision about life and people into the theatrical ecosphere.  More plays were written, last year At the Wake of a Dead Drag Queen was reprised and a brand spanking new dazzler by Guest just launched its world premiere at Jackalope Theatre in Edgewater a few days ago.  If there’s any logic in the universe, it’ll enjoy a very similar reception to his inaugural tour de force.

Because it’s so creatively extravagant, Andy Warhol Presents: The Cocaine Play lives in a universe all its own.  There’s enough drama and suspense to be slightly Hitchcockian, but it’s also unrelentingly funny.   It’s arguably biographical, but not in any way you’d expect.  Because it indulges in the supernatural, you can say it possesses strong elements of mystical realism. Nothing about it is predictable. And it has two endings.  Both killer.

If you had to name one thing that forms its nucleus, it would be fame.  The single name variety.  Blinding individual glory.  Guest probes into what it’s like to have it and what it means to crave it.

We get a sample of the first right at the opening when Marilyn Monroe appears resplendently before us and gives a little run down on what it’s like to be her.   The instant recognition, the automatic smiles, the rapturous attention, the sheer adoration.  But she isn’t “that” Marilyn.  And she’s not really an avatar.  You could say she’s a concept of the blond bombshell turned into flesh. Played with decadent deliciousness by Alexis Ward, she’s the psychological stand-in for the mega-star from Hollywood’s past. 

A quick shift and we’re suddenly in a New York apartment with a woman, Edie Sedgwick, complaining to a friend about her inattentive, I-don’t-understand-him-at-all-anymore, husband. We’ve already learned from the friend she’s talking to, Andy Warhol, that we’ve gone back in time to the 1960s. And even though he’s a painter too and wears a bushy white wig, he’s not that Andy Warhol. Like Marilyn, Andy and Edie are facsimiles of the people we think they are.  And like every other member of the four-member cast, everyone’s Black.

(L to R) David Michael Dowd, Jasmine “Jazzy” Cheri Rush and William Anthony Sebastian Rose II in ANDY WARHOL PRESENTS: THE COCAINE PLAY.

William Anthony Sebastian Rose II occupies the role of Andy, and a more droll, brilliantly glib performance will likely not be seen on another stage anytime soon. He and Edie’s husband Michael (David Dowd) are having a very hot little affair on the side.   Regardless of how trivial or momentous, all interactions are laced with coke. Indulging in cocaine hits is so pervasive it’s like watching piranha in a constant feeding frenzy.

They’re all in the creative arts.  Edie (Jasmine “Jazzy” Cheri Rush) is an actress married a painter.  She and Michael are flat out rabidly ambitious, and both invest the sweat and tears to make it in their crafts.  Unfortunately, their striving just doesn’t end up going anywhere. Andy’s less driven or sure of himself.  Much more reticent.  When an opportunity arises for him and Michael to catch some limelight, it’s Andy, after being pushed by his lover/friend, who prevails.  His portrait of the late Marilyn Monroe catapults him to fortune and fame. 

Guest not only wrote the Andy Warhol script; he also directs this three-act marvel that moves like a bullet train on freshly greased tracks.  This production shows too that he’s a master at shaping performances.  All four glow with a blindingly high gloss.   

The play spans three decades.  Sydney Lynne’s scenic design stamps all of them with genuine uniqueness and style.  Dress transforms with the times too and, in this case, only Edie’s wardrobe changes noticeably as the years roll by.  As costume designer, Maddy Shows makes sure they sync perfectly with the period and sing with class.   Much the same can be said for Ayanna Bakari and that cavalcade of wigs she presents.   Stellar.  

Cohesive and boppin’ original music binds the play together from the very beginning to the absolute end, yielding what can only be called yet another delectable surprise bonus.

Fame, we later find, isn’t sitting all that well with Andy.  Something about it is oppressive and Marilyn keeps showing up like a specter he’d really like to leave him alone for a while.  Still treading water, Edie and Michael aren’t faring much better.  She left for LA to try and make it in the movies since NY never ignited. Micheal continues to paint in the Big Apple and remains mired in the same obscurity.   The chance at a long shot makes him desperate, brings his resentment regarding Andy’s success to the fore and sets him to scheming.  After all, he rationalizes, Andy would never be where he is if it weren’t for him.  Things then turn very dark and get just as hot.  Hence the first ending that’s so intense there should be a way to one day to enshrine it in the National Archives.

It’s the second closing that comes out of nowhere that will blast your other sock off.

Andy Warhol Presents: The Cocaine Play

Through July 6, 2026

Jackalope Theatre

Broadway Armory Park

5917 N. Broadway Street

Chicago, IL  60660

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

Highly Recommended

When Jason Robert Brown’s The Last Five Years premiered at Chicago’s Northlight Theatre in 2001, it flipped the traditional rom-com musical blueprint on its head. Off came the rose-colored glasses, and what was presented was an intimate, searing, and structurally unique take on the modern relationship, inspired by Brown’s own love and loss. Now, twenty-five years later, this piece, directed by Christina Ramirez, returns to Chicagoland at Oil Lamp Theater in Glenview. The Last Five Years presents the entire course of a relationship between Jamie, a rising author, and Cathy, a struggling actress – from the first hello to the final goodbye – performed by only two actors, who take turns singing their hearts out in this vocally demanding score.

Structure is everything in this show. Jamie’s timeline starts from the high of their first date and moves chronologically, while Cathy’s story begins at the end and moves backward. They meet only once, in the middle, for their wedding, and then move in opposite directions.

Lili Galluzzo, playing Cathy, is an absolute powerhouse. She commands the stage with a voice that can belt to the rafters, packing an emotional punch with every note. Whether she is navigating the comedic neuroses of “A Summer in Ohio” or the crushing vulnerability of “I'm Still Hurting,” she conveys unvarnished emotion that anchors the production's vocal stakes.

As Jamie, Abraham Deitz-Green has an effortless, magnetic charm. From his opening number, he is clearly having fun, schmoozing the crowd and winning the audience over with ease. He infuses the ambitious young novelist with infectious likability. In fact, it makes it hard for the audience to decipher who is at fault more in this relationship, forcing them to question everything, just as the leads do.

Perhaps Cathy is too pessimistic? Years of career letdowns have tainted her perspective on life, and misery loves – needs – company. Maybe she can’t be happy unless Jamie is unhappy too. Or perhaps Jamie was always emotionally unavailable? As his career takes off, does he want to give himself sacrificially to another person, or does he want to be the new, shiny toy on the scene? Maybe he only wants to reap the benefits of love without caring for it. These are the questions the audience is wrestling with thanks to their strong performances.

Lili Galluzzo in THE LAST FIVE YEARS from Oil Lamp Theater.

But while individually the leads command the stage, their chemistry together left something to be desired. The musical’s structure itself doesn’t help much. After all, the majority of the time, they sing alone, interacting only with props. So, the anticipation of them finally being in the same timeline, sharing space, perhaps places an undue burden on the moment. Still, their big song together, which is also their wedding song, felt flat. The same charm that Jamie had when he landed his big break was gone, and the fire that Cathy had joking about Ohio was missing. Given that this was opening night, the chemistry may well evolve as the actors settle into each other’s timing, but in this performance it was noticeably absent. Since that crucial piece wasn’t there, it felt a little as if these characters never truly understood each other from the start. Were they truly lovers or just lines intersecting at a point?

Oil Lamp’s space is the perfect venue for this intimate show. The set really doesn’t need much; the songs are the main course. But the set was a bit of a distraction. Flat panels slid on and off stage to delineate different locations or the passage of time, but they were rather clunky when they were moved, like a stubborn shower door. At other times, Jamie entered from behind the audience, stepping directly in from the street. The sudden opening of the door and the outside light coming in pulled one out of the moment. The scenes that worked best were those which used lighting to direct your focus and shine on Jamie or Cathy as they untangled their vulnerabilities or drew you in with bursts of emotion.

The Last Five Years is a unique art piece, and its story is not for everyone. Can love and ambition mix, or are they oil and water? This untraditional, somber look at relationships offers unflinching moments, lush and playful songs, and questions you have to wrestle with – no doubt why it has found its way into the hearts of many musical theatergoers. Whether you're "Team Jamie" or "Team Cathy," fans of this modern musical will certainly fall in love with Oil Lamp’s rendition, thanks to the dynamic performances of its leads. They perform this high-wire act with skill and vocal precision, bringing this complex story to life with incredible emotional depth.

The Last Five Years plays at Oil Lamp Theater now through July 19th.

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

Some stories refuse to fade with time, and Brokeback Mountain is one of them. What began as a modest short story by Annie Proulx in The New Yorker in 1997 grew into an award-winning literary work, an acclaimed film, and now a deeply moving stage adaptation by Ashley Robinson at Chicago Shakespeare Theater. Under the assured direction of Jonathan Butterell, this production achieves something rare: it honors the source material while creating an emotionally overwhelming theatrical experience that stands on its own merits.

Proulx's story unfolds in 1963, in a world where homophobia was not merely accepted but embedded within the culture. In rural America, far removed from urban centers and decades before meaningful LGBTQ+ rights protections, Ennis Del Mar and Jack Twist find themselves trapped between the lives they are expected to live and the love they cannot deny. Although the story concludes in 1983, its themes remain startlingly relevant. The prejudice that shaped their lives has not disappeared; it has simply changed forms.

Butterell's direction is masterful. He understands that the power of Brokeback Mountain lies not in grand declarations but in silences, glances, and opportunities missed. Every scene is infused with aching restraint, allowing the audience to feel the enormous weight of what remains unspoken. The result is a production that slowly tightens its grip on the audience.

Harrison Ball delivers a remarkable performance as Ennis Del Mar, capturing the character's stoicism, fear, and buried longing with heartbreaking precision. Opposite him, Jack Cameron Kay gives Jack Twist an irresistible warmth and optimism, making his refusal to surrender to a life of secrecy all the more poignant. Together, the two actors create a chemistry so natural and compelling that the audience becomes deeply invested in every stolen moment they share.

The supporting cast is equally extraordinary. Cordelia Dewdney's Alma Del Mar is nothing short of revelatory. Dewdney charts Alma's transformation from a hopeful young wife into a woman forced to confront painful truths with astonishing emotional depth. Her performance is so finely calibrated, so emotionally authentic, that it feels destined for award recognition. Every look, every hesitation, every moment of heartbreak lands with devastating force. It is one of the finest performances currently on a Chicago stage.

Thomas Cox and Kat Eggleston excel in multiple roles, helping populate the world around Ennis and Jack with richly drawn characters. Eggleston's work as the Balladeer provides a haunting thread that runs through the production, giving voice to emotions the characters themselves cannot express.

Tom Pye's scenic and costume design is stunning in its simplicity. With minimal elements, he evokes the sweeping grandeur of Wyoming's mountains and the claustrophobic domestic spaces that confine the characters for much of their lives. The contrast is striking. On Brokeback Mountain, Ennis and Jack briefly experience freedom. Everywhere else, they are hemmed in by expectations, obligations, and fear. Sammi Grant's dialect coaching enriches the production, lending authenticity to the Wyoming accents and further immersing the audience in the world of the play.

What makes this production particularly resonant is its willingness to confront the societal forces that shaped Ennis and Jack's tragedy. The play never becomes didactic, yet it clearly illustrates how homophobia was reinforced by cultural institutions, including religious traditions and biblical interpretations that were frequently used to condemn same-sex relationships and enforce rigid definitions of masculinity. Whether through family expectations, community pressure, or appeals to religious authority, the message was clear: people like Ennis and Jack were expected to deny who they were. The production allows audiences to witness the devastating human cost of those beliefs without reducing its characters to symbols or political arguments.

Although Brokeback Mountain is not a musical, musical elements are woven seamlessly into the storytelling, becoming an emotional landscape of their own. Rather than interrupting the narrative, the ballads deepen it, expressing feelings that the characters are unable to articulate. Combined with the breathtaking visual and emotional scope of the production, the music helps transform the story into something more.

What is most impressive is how contemporary the play feels. Nearly forty years after the events depicted, Brokeback Mountain remains a cautionary tale about the consequences of intolerance and the lives damaged when love is forced into secrecy. Yet it is also a story of resilience, desire, and the human need for connection.

Chicago Shakespeare Theater has delivered one of the most powerful productions of the season. Under Jonathan Butterell's direction, every artistic element works in harmony to create an evening of theater that is both intimate and epic. It would not be surprising to see this production enjoy a future life beyond Chicago. The quality of the staging, the strength of the performances, and the universal appeal of the material suggest a production that could fare exceptionally well in New York and beyond.

Brokeback Mountain is theater at its finest—beautifully acted, exquisitely directed, emotionally devastating, and utterly unforgettable. It is not merely a revival of a story; it is a production that reminds us why stories like this continue to matter. And in Jonathan Butterell's hands, it soars.

Highly Recommended

Running Time: 90 minutes

When: Through June 28

Where: Chicago Shakespeare Theater 800 East Grand Avenue in Chicago

Tickets: $65 - $125

Box Office: 312-595-5600

Info: www.chicagoshakes.com

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

Produced in partnership with JunkHeart, The Metal Shop Performance Lab is proud to announce the cast and creative team for Anatomy of a Suicide, August 12 - 30, at Redtwist Theatre, 1044 W Bryn Mawr Ave, Chicago, written by Alice Birch and directed by Alex Mallory. Previews are Wednesday, Aug. 12 and Thursday, Aug. 13 at 7:30 p.m. The regular performance schedule is Wednesdays, Thursdays, Fridays and Saturdays at 7:30 p.m. and Sundays at 3:30 p.m. Tickets are $20 - $35 and may be purchased starting June 1 by visiting TheMetalShop.org.

Anatomy of a Suicide follows three generations of women; a mother, a daughter and a granddaughter, whose individual stories are being told simultaneously. For each, the pain and chaos of the women who came before them force them to question whether they will be able to escape this deeply rooted legacy and instead make their own. Alice Birch's Susan Smith Blackburn Prize-winning play is an intimate exploration of inter-generational trauma, told across three interlinking narratives.

The cast of Anatomy of a Suicide features Tatiana Pavela (she/her, Carol); Taigé Lauren (she/her, Anna); Isabel Lee Roden (they/them, Bonnie); Josh Razavi (he/him, John); Raúl Alonso (he/him, Jamie); Allyce C. Torres (she/her, Jo/Laura/Lola/Woman); Jocelyn Maher (she/her, Emma/Karen/Esther/May/Diane); Laila Malak (she/her, Young Daisy/Young Anna/Child); Wisterman (they/them, Dan/Dave/Nurse/Felix/Luke); Faiz Siddique (he/him, Toby/Tim/Mark); Ellen Campbell (she/her, u/s Carol); Taylor McWilliams-Woods (she/her, u/s Anna); Ashley Leake (she/her, u/s Bonnie); Zak Wilson (he/him, u/s John); DeVaughn Loman (he/him, u/s Jamie); Liliana Mastroianni (she/her, u/s Jo/Laura/Lola/Woman); Lori Navarrete (she/her/ella, u/s Emma/Karen/Esther/May/Diane); Amanda Elena de la Fuente (she/ella, u/s Young Daisy/Young Anna/Child); Derek Preston Ray (he/him, u/s Dan/Dave/Nurse/Felix/Luke) and Darius Stubbs (he/him, u/s Toby/Tim/Mark).

The creative team includes Alex Mallory (she/her, director); Marlee Feacher (she/her, assistant director); Sofie Schmeltzer (they/them, stage manager); Annabelle Lamb (she/her, assistant stage manager); AJ Noon (they/them, rehearsal assistant stage manager); Dusty Brown (they/them, production manager); Daphne Agosin (she/her, scenic and lighting designer); Naomi Arroyo (she/her, costume designer); Gina Montalvo (she/they, sound designer); Lolo Ramos (she/her, props designer) and Toranika Washington (she/her, intimacy director).

Anatomy of a Suicide is presented by special arrangement with Concord Theatricals Corp. www.ConcordTheatricals.com.

Please note: Anatomy of a Suicide contains themes of suicide, substance abuse, and depression. Age recommendation 14+.

If you or a loved one are experiencing a mental health or substance abuse crisis, 988 offers 24/7 judgment-free support for mental health, substance use, and more. Text, call, or chat 988. Information on local resources will be provided online, in show program material, and at the theater.

ABOUT ALICE BIRCH, playwright

Alice Birch is a British playwright and screenwriter. Birch has written several plays, including Revolt. She Said. Revolt Again. for which she was awarded the George Devine Award for Most Promising New Playwright and Anatomy of a Suicide for which she won the Susan Smith Blackburn Prize. Birch was also the screenwriter for the film Lady Macbeth and has written for television shows such as "Succession," "Normal People" and "Dead Ringers."

ABOUT ALEX MALLORY, director

Alex Mallory is a director, educator, producer, arts consultant, director of The Metal Shop Performance Lab and one half of JunkHeart with Tatiana Pavela. She recently directed the world premiere of Sadieh Rifai's The Cave for A Red Orchid Theatre and a touring, community-engaged production of My Name is Rachel Corrie with The Metal Shop. Her award-winning production of Takeo Rivera's choreopoem Goliath toured over seven years through New York and California. Alex holds an MFA in Directing from Northwestern University and a BA from Stanford University where she received the Louis Sudler Prize in Creative Arts and the Sherifa Omade Edoga Prize for work involving social issues. She is a proud member of SDC, the national labor union representing professional stage directors and choreographers.

ABOUT THE METAL SHOP PERFORMANCE LAB

The Metal Shop Performance Lab creates theatrical events that build community through authentic exchange between artists and audiences. 

ABOUT JUNKHEART

JunkHeart is a new artistic collaboration between Alex Mallory and Tatiana Pavela. JunkHeart seeks to create bigger worlds for people to witness, so they have bigger worlds to exist within. Junk because it describes how we often make theatre: recorded on voice memos, written on scraps of paper, costumed from the back of our closets and thrift store finds. We collect salvaged wood from the landlord's garage, borrow furniture from our own living rooms, and assemble a motley crew of people to come together because they can't envision doing anything else. Heart because art should fracture something open to give people more space. We want our projects  to expand audiences' ideas of humanity and leave them feeling more, connecting more, envisioning more possibilities. Can your heart be split open and be put back together slightly changed, with light pouring through the cracks?

Produced in partnership with JunkHeart, The Metal Shop Performance Lab is proud to announce the cast and creative team for Anatomy of a Suicide, August 12 - 30, at Redtwist Theatre, 1044 W Bryn Mawr Ave, Chicago, written by Alice Birch and directed by Alex Mallory. Previews are Wednesday, Aug. 12 and Thursday, Aug. 13 at 7:30 p.m. The regular performance schedule is Thursdays, Fridays and Saturdays at 7:30 p.m. and Sundays at 3 p.m. Tickets are $20 - $35 and may be purchased starting June 1 by visiting TheMetalShop.org.

Definition Theatre's Amplify New Play Program exists to elevate emerging voices, and Netta Walker's keerah certainly arrives with ambition. Loosely inspired by the mythological lovers Orpheus and Eurydice, the play explores race, identity, love, and memory through the relationship between Ciara and Cormac. While the production benefits from strong performances and excellent design work, the script ultimately struggles to transform its compelling ideas into equally compelling drama.

The cast features Netta Walker as Ciara, Cat Christmas as Lucy, Beck Nolan as Cormac, and Jacob Coggeshall as Finn. Under the direction of McKenzie Chinn, the actors work tirelessly to bring depth and authenticity to the material. Walker and Nolan, in particular, share a natural chemistry that anchors the evening. Their relationship serves as a constant reminder of the play's potential. Even when the script falters, both actors remain committed to finding emotional truth in their characters.

The first act unfolds as something of a meandering exploration of youthful angst and attraction. While it establishes the emotional stakes, it often feels unfocused. The second act finds greater urgency but also becomes increasingly forced, pushing emotional revelations rather than allowing them to emerge organically. Although Walker draws inspiration from the story of Orpheus and Eurydice, these characters never achieve the mythic resonance suggested by that source material. In fact, despite the strong acting, Ciara and Cormac never fully emerge as people who exist beyond the play's thematic framework.

The central relationship also bears the weight of a nearly two-hour running time. Scene after scene dissects emotional wounds without revealing enough new dimensions to sustain the audience's investment. The result is a play that feels longer than it is, with the stakes remaining surprisingly low considering the intensity with which they are discussed.

More problematic is the play's handling of race and identity. At one point Cormac declares, "I'm not white, I'm Irish," a statement that hints at a potentially fascinating conversation about ethnicity and cultural identity. Unfortunately, the play never meaningfully explores the implications of that claim. Even more troubling is a scene in which Ciara opens a bottle of Hennessy and mutters a racial slur. Rather than illuminating character or advancing the narrative, the moment feels gratuitous and awkwardly inserted for shock value.

Fortunately, the production's design elements are consistently strong. Scenic Designer Isa Noe creates realistic environments that are immediately recognizable and lived-in. The restaurant where the women work, the city streets, and the bedroom scenes all feel authentic. Garrett Bell's lighting design beautifully supports the shifting moods of the play, while Costume Designer Janelle Smith outfits the characters in clothing that feels both realistic and specific. Sound Designer Aaron Harris Woodstein further enriches the atmosphere.

One leaves keerah admiring the effort more than the result. Definition Theatre has repeatedly demonstrated its ability to produce work of the highest caliber, and its commitment to developing new plays remains invaluable. While keerah contains moments of promise and is bolstered by a talented cast and creative team, it remains a work still searching for the emotional and thematic clarity that would allow its ideas to truly resonate.

Somewhat Recommended

When: Through June 28

Where: Definition Theatre @1160 E. 55^th Street Chicago

Running Time 2 hours with a 15-minute intermission

Tickets: Start at $25

312-469-0390

https://www.definitiontheatre.org/shows/keerah

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

Welcome to Southie, a Boston neighborhood where a night on the town means a few rounds of bingo, this month’s paycheck covers last month’s bills, and Margie Walsh has just been let go from another job. Facing eviction, could an old fling who made it out of Southie be a ticket to a new start? Margie is about to risk what little she has left to find out. With his humorous glow, David Lindsay-Abaire explores the struggles, shifting loyalties and unshakeable hopes that come with having next to nothing in America.

Good People is David Lindsay-Abaire's most personal play. Set in "Southie", the working-class neighborhood where he grew up, Good People shines a light on socioeconomic disparities, luck vs. meritocracy, and what it truly means to be "good people."   In David Lindsay-Abaire’s own words, "I have a deep love and respect for the people from my neighborhood. I waited to write it until I could do so responsibly and respectfully, aiming to challenge stereotypes by portraying my friends and relatives as "salt of the earth people”.

Ticket info:

Location of show: Theater Wit (Theater One), 1229 W. Belmont, Chicago, IL 60657

Dates: Running July 17-August 23    Thursdays-Saturdays at 7:30pm and Sundays at 3pm

Opening Day: Sunday, July 19 at 3pm

Cast:  Jodi Kingsley (Margaret), Bryan Breau (Mike), Sandra Adjoumani (Kate), Maggie Cain (Dottie), Wendy Hayne (Jean), Steven Horn (Stevie)

Understudies: Sarah Sapperstein (Margaret), Tim Ashby (Mike), Tiffani Grace (Kate), Judith Laughlin (Dottie) Amber Dow (Jean), Wyatt DeLair (Stevie).

Joining Lauren Berman (Producer/Director), is Beep Trefts (Production Stage Manager), Kevin Rolfs (Set Designer), Levi Wilkins (Lighting Designer), Petter Wahlback (Sound Designer) Anika Splettstoeszer (Costume Designer), Emma Jean Golden (Props Designer), Carrie Hardin (Dialect Coach), Ollie Van Den Heuvel (Assistant Stage Manager), Cammerrron Baits (Social Media Manager),  Brittany Brown (Casting Director).

4 Chairs Theatre’s Mission:

4 Chairs Theatre is a not-for-profit theatre committed to providing a safe space for actors and audiences of all ages, cultures, genders, races, abilities and walks of life.  Our performances breathe humanity, empathy and truth.  We amplify voices that are often excluded and uncover hearts that are often hidden. By replacing "You're too..." and “You'll never..." with "You're enough" and "You will…" we are determined to change the world, one show at a time. Pull up a chair. You can sit with us.

Following is critically acclaimed productions of Sweeney Todd and Into the Woods, Kokandy Productions once again celebrates the great Stephen Sondheim with a revival of his stunning masterpiece Sunday in the Park with George, the first Chicago storefront production in over 15 years! This beloved musical will play August 13 – November 1, 2026 in the intimate Chopin Downstairs Studio, 1543 W. Division St. in Chicago. Tickets are on sale now at kokandyproductions.com or bit.ly/SundayChicago. 

Directed and choreographed by Producing Artistic Director Derek Van Barham with music direction by Nick Sula, Sunday in the Park with George features a book by James Lapine with music and lyrics by Stephen Sondheim. Casting will be announced shortly.

About the Production

Inspired by the painting, "A Sunday Afternoon on the Island of La Grande Jatte" by Georges Seurat, Sunday in the Park with George merges past and present into beautiful, poignant truths about life, love and the creation of art. One of the most acclaimed musicals of our time, this moving study of the enigmatic painter, Georges Seurat, won a Pulitzer Prize and was nominated for an astounding ten Tony Awards, including Best Musical.

"Sunday in the Park with George was one of the first shows I pitched to direct when interviewing to join the company back in 2018," says Producing Artistic Director Derek Van Barham. "It's almost a decade later and we're finally visiting this astonishing masterpiece. It feels like the right time. The show offers us a chance to reflect on what we've been creating and to look forward at what we still hope to achieve – both as a company and as individual artists. Sunday reminds us not to linger too much on the future or the past, but to focus on the present moment, to connect with each other in real space and time. What a gift that will be. What a gift it is to be together in a room, taking in a piece of art, having communal and singular experiences at the same time."

The production team includes Rachel Sypniewski (Costume Design), G "Max" Maxin IV (Lighting Design), Matt Reich (Sound Design), Syd Genco (Makeup Design), Keith Ryan (Wig and Hair Design), Shane Roberie (Casting Director), Nicholas Reinhart (Production Manager), Kendyl Meyer (Stage Manager), Ethan Colish (Assistant Stage Manager), Michael Coppola (Stage Management Intern), Scot Kokandy (Executive Producer) and Derek Van Barham (Producing Artistic Director).

PRODUCTION DETAILS:

Title: Sunday in the Park with George

Book: James Lapine

Music & Lyrics: Stephen Sondheim

Director and Choreographer: Producing Artistic Director Derek Van Barham

Music Director: Nick Sula

Location: Chopin Downstairs Studio, 1543 W. Division St., Chicago

Dates: Previews: Thursday, August 13 – Friday, August 28, 2026

Regular run: Sunday, August 30 – Sunday, November 1, 2026

Curtain Times: Thursdays, Fridays and Saturdays at 7 pm; Sundays at 5 pm.

Tickets: Previews $28.52* general admission, $39.19* reserved seating. Regular run $55.20* general admission, $65.87* reserved seating. Students/seniors $44.52*. There will be a limited number of lower-priced tickets (with code ARTIST) available to artists for each performance. Tickets are on sale now at kokandyproductions.com or bit.ly/SundayChicago. *Ticket prices include processing fees

Sunday in the Park with George is presented through

special arrangement with Music Theatre International (MTI).

About the Artists

Derek Van Barham (Director and Choreographer) is the Producing Artistic Director of Kokandy Productions. Directing credits include Children of Eden in Concert (Broadway In Chicago), Jekyll & Hyde (BIC/Kokandy), Amélie, Into the Woods, Alice by Heart, Sweeney Todd, American Psycho, Head Over Heels (4 Jeff Awards and 3 Jeff nominations, Kokandy); Spring Awakening (Flint Rep); Rock of Ages (Metropolis); The View Upstairs (Circle Theatre); Miracle by Dan Savage, Poseidon (Hell in a Handbag) Natasha Pierre and the Great Comet of 1812, Carrie, Bat Boy, Merrily We Roll Along (CCPA/Roosevelt University). Choreography credits include Evil Dead (Jeff nomination), Coraline the Musical, Ghost Quartet and Shockheaded Peter (Black Button Eyes). He was previously named one of Windy City Times' 30 Under 30, and one of Newcity Magazine's 50 Players 2024 and 2026. MFA: CCPA/Roosevelt University. IG: @dvbarham

Nick Sula (Music Director) is an award-winning pianist and music director, proud to return to Kokandy Productions and the Chopin Theatre where he served as music director for the Jeff Award-winning productions of Jekyll & Hyde (Jeff Award for Outstanding Music Direction), Sweeney Todd (Jeff Award for Outstanding Music Direction), Into the Woods (Jeff Awards for Outstanding Music Direction and Orchestrations) and the Chicago Musical Theatre Festival. Other Chicago theatre music direction credits include: Octet (Raven Theatre); Anything Goes (Porchlight Music Theatre); Ghost Quartet (Black Button Eyes Productions). As a professor of musical theatre he serves as a music director, instructor and vocal coach at the Chicago College of Performing Arts at Roosevelt University.

About Kokandy Productions

Founded in 2010, Kokandy Productions seeks to leverage the heightened reality of musical theatre to tell complex and challenging stories, with a focus on contributing to the development of Chicago-based musical theatre artists, and raising the profile of Chicago's non-Equity musical theatre community.

The company's artistic staff is comprised of Derek Van Barham (Producing Artistic Director), Scot Kokandy (Executive Producer) and Adrian Abel Azevedo & Leda Hoffman (Artistic Associates). The Board of Directors includes Preston Cropp, Scot T. Kokandy, Danielle Sparklin and Katie Svaicer. 

For additional information, visit kokandyproductions.com. 

Some theatrical experiences ask you to sit back and watch. "The Last Word" invites you to pull up a chair, have a cocktail, and tumble headfirst into a delightfully strange fever dream about life, death, friendship, and a very famous green liqueur.

Its title refers both to a classic cocktail and to the screenplay at the center of the evening, and the two become intertwined in ways that are clever, surprising, and ultimately moving. The story revolves around Chartreuse, the legendary French liqueur whose closely guarded recipe is known by only two monks at any given time. When Mike discovers one of those monks dying in the woods and is entrusted with the only known copy of the recipe, he faces an impossible choice: return it to the monastery or risk everything to preserve it himself.

Presented as a live screenplay reading, "The Last Word" (at the iO Theater on Kingsbury) cleverly blurs the line between stage play and film script. Plays are meant to be heard; screenplays are meant to be seen. It takes a special kind of theatrical imagination to make a screenplay reading compelling. Fortunately, this production understands that challenge and embraces it. Through lighting effects, sound design, music, and a constant sense of playful invention, the audience is encouraged to visualize the movie unfolding in their minds.

The evening begins with audience members seated around a long table draped in green, scripts spread out before them, and a bottle of Chartreuse placed prominently center stage like a sacred relic. As the cast settles in and begins reading, we gradually discover who these characters are and the wild journey ahead.

A great deal of credit belongs to host and narrator Declan Grogan, who guides the audience through the evening with infectious enthusiasm. Between the screenplay's four acts, Grogan pauses the action to introduce a specially crafted cocktail inspired by that portion of the story.

The first act is paired with a Chartreuse Swizzle, a bright tropical concoction made with gin, that eases the audience into the tale. The second act features a Green drink made with homemade herbal clove liqueur whose complexity mirrors the increasingly mysterious turns of the plot. A Bijou, rich and blood red, accompanies the third act as the story deepens and the stakes become more profound. Finally, the evening concludes with the iconic Last Word, the cocktail that inspired both the title and much of the play's thematic spirit. Grogan's descriptions are delivered with such enthusiasm and detail that even audience members unfamiliar with mixology may find themselves suddenly fascinated by botanical spirits, obscure liqueurs, and the mystical allure of Chartreuse itself.

The cast—James Cullinane, Rachel Thomas, Declan Grogan, Claire Glennon, Spencer Gallagher, Colleen Grogan, and Liam Mahon—fully commits to the material's offbeat humor and emotional sincerity. What initially appears to be an eccentric comedy gradually reveals deeper themes about mortality, legacy, and the connections we leave behind.

One of the evening's most unusual choices involves video montages featuring the loved ones of cast members speaking about their affection and appreciation for the cast member. At first, the device feels unexpected, even a little puzzling. Yet by the final scene, its purpose becomes crystal clear. The production's emotional threads suddenly converge, and what seemed odd earlier becomes genuinely beautiful.

In the end, "The Last Word" asks a deceptively simple question: We will all have a last word. What will yours be? The answer arrives not through grand speeches but through shared experiences, laughter, friendship, and perhaps a perfectly balanced cocktail. This is an inventive, heartfelt, and thoroughly unique theatrical experience that l have to experience again.

Highly Recommended
When: The Last Friday of the month - June 26, July 31, August 28
Where: iO Theater, 1501 N. Kingsbury St. Chicago
Tickets: $50 general admission (Drink Package)
$20 general admission designated driver
Info: https://www.thelastwordshow.com/

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

Studebaker Theater (Erica Berger and Jacob Harvey), P3 Productions (Ben Holtzman, Sammy Lopez, and Fiona Howe Rudin) and Audible, in collaboration with Teatro Vista Productions, present the Chicago premiere of the acclaimed new 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 this fall at Chicago's historic Studebaker Theater at the Fine Arts Building (410 S. Michigan Avenue) beginning November 6, 2026. Tickets go on sale next month at MexodusMusical.com.

The live-looping hip-hop musical Mexodus recently 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 current return Off-Broadway engagement at the Daryl Roth Theatre. 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 also lived in the city. An early workshop and developmental performances of the musical were held in Chicago in 2021 and 2023.

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

"The season's first must-see musical" (The Wrap), Mexodus reveals a hidden chapter of American history. You know the story of the Underground Railroad that ran North, but this show takes you on the path that ran South by crossing the Rio Grande into Mexico. "[An] electrifying theatrical experience" (The New York Times) created and performed by Brian Quijada and Nygel D. Robinson, this groundbreaking live-looped musical follows a freedom seeker and an unlikely ally as they forge a remarkable bond that transcends borders.

Ben Holtzman, Sammy Lopez, and Fiona Howe Rudin of P3 Productions said, "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 go on sale in June at MexodusMusical.com.

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. Recent Broadway productions include Call Me Izzy, Job, and How to Dance in Ohio. Upcoming: Wanted (formerly Gun & Powder), Mexodus, and The Ninth Woman. Recent Broadway and West End Co-Producing credits: Sunset Blvd, The Last Five Years, Just For Us, A Strange Loop, Orlando, and Next to Normal (West End). Learn more: www.p3.productions and follow @p3productions.nyc.

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.