Displaying items by tag: Chicago

Demand for Dennis Watkins' The Magic Parlour continues into 2026 following a strong holiday season of sold-out performances and group and event bookings. Now, "Chicago's premiere resident magician" (Chicago Tribune) releases a brand new block of tickets to see audiences into the spring and summer months. Watkins also welcomes Derek Hughes—a "thoroughly entertaining" (New York Times), "suberb magician with a gift for the unexpected and off beat" (Minneapolis Star Tribune) to perform as a guest artist on selected dates this and next month. Now in its third year, the custom magic theater in the heart of the Loop has welcomed more than 28,000 Chicagoans to 700+ performances and bespoke private events—including hosting some of the nation's greatest magicians as guest artists-in-residence and special performances. In addition, Watkins brings back the popular 3-Card Monte, a special format in which three magicians visit each audience member's table to perform close-up magic. Offered only on Sunday evenings at 5pm, 3-Card Monte magicians include Watkins, Hughes, Luis Carreon, Mike O'Donnell, Ryan Plunkett and James Sanden.

"As The Magic Parlour and its audience continue to grow, I've been hunting for new ways to share world-class magic with Chicago. As we continue, I'll keep running my show, The Magic Parlour, six shows per week and 300 shows per year. I'm thrilled to bring in two or three guest artists each year for limited-engagement runs. On the heels of Siegfried Tieber's sold-out engagement last month, this month we welcome the incomparable Derek Hughes for three short weeks," said Dennis Watkins. "And, I've launched 3-Card Monte on Sunday evenings. This experience showcases my carefully curated list of Chicago magicians and out-of-town guests performing formal close-up magic at the table with the audience. Three performers run at three tables concurrently, then rotate for 30-minute sets—creating a whirlwind of magic as up-close and personal as it gets!"

The Magic Parlour, now on sale through August 31, 2026, takes place Thursday through Sunday. Tickets range from $93 - $136; tickets for Guest Artist Derek Hughes' performances range from $76 - $106. All tickets include a complimentary beverage. Hughes appears Feb. 26-27 (7:30pm); Feb. 28 (4:30 + 7:30pm); March 1 (2pm); March 5-6 (7:30pm); March 7 (4:30 + 7:30pm); March 8 (2pm); March 12-13 (7:30pm); March 14 (4:30 + 7:30pm); and March 15 (2pm); tickets for 3-Card Monte are $73. To purchase tickets, call the Goodman Theatre Box Office at 312.443.3800 (12 Noon – 5pm) or visit TheMagicParlourChicago.com. Note: Watkins will invite a TBA guest magician to appear at select July performances; check website for dates, full announcement coming soon. The Magic Parlour is recommended for audiences ages 12+; while there is no inappropriate content, this elegant experience is designed for adults Media members: for complimentary press passes, This email address is being protected from spambots. You need JavaScript enabled to view it..

Hailed as a "star attraction dazzling audiences in an elegant underground Loop parlor" (WBEZ), The Magic Parlour is "90 minutes of mind-boggling fun that would make Houdini proud, offer(ing) warmth, intimacy and a great close-up view of the magic being performed right before your eyes" (WGN Radio). In a first-of-its-kind creative collaboration, Watkins teamed up with Goodman Theatre and Petterino's restaurant to establish a permanent home for Chicago's longest-running magic show—an intimate evening of classic magic and mind-reading previously hosted for more than a decade at the Palmer House (opened on New Year's Eve, 2011). The audience participates in much of the performance as Watkins wows the room with classic sleight of hand, unbelievable mind-reading and magical wisdom passed down from his grandfather.

The space at 50 W. Randolph, situated adjacent to the Goodman in Petterino's transformed lower-level area, continues Watkins' famed tradition of the VIP experience in The Encore Room, an upgraded ticket option for guests seeking an exclusive 25-minute interaction following the performance. Immediately following the performance, up to 24 guests are escorted to a private space where Watkins performs up-close magic.

A co-founder of The House Theatre of Chicago, Dennis Watkins has collaborated as an actor, writer, director and/or designer on 30+ world-premiere plays with companies including Lookingglass, Steppenwolf and Goodman Theatre. After studying theater at Meadows School of the Arts and the British American Drama Academy in London, he launched The House Theatre with Artistic Director Nathan Allen and cohorts from school on Halloween of 2001. His appearance in the title role of Death and Harry Houdini—including performing Houdini's infamous Water Torture Cell escape in every show—earned him a Joseph Jefferson Award.

ABOUT THE PARTNERS

Petterino's has been a beloved downtown icon in the Chicago community for 20+ years, continuing to offer the same spirit and tradition that diners know and love. Enjoy timeless flavors, authentic Italian fare, comfortable interiors and warm hospitality. Our passion for creating memorable dining experiences aligns perfectly with the mystique of magic. The synergy between the culinary artistry of our chefs and the magical prowess of Dennis Watkins promises an evening of unparalleled wonder and flavor. We've joined forces with the Goodman and this talented magician to bring you a dining experience like no other. Blend the flavors of Italy with the wonder of magic, by dining at Petterino's before or after the show. You may also consider booking a private or corporate event in conjunction with a show. Whether you're celebrating a special occasion, a romantic evening, or simply seeking an escape from the ordinary, our magical collaboration guarantees an enchanting escape into a world where delectable cuisine dances with spellbinding illusions.

Since 1925, The Goodman has been more than a stage. A theatrical home for artists and a gathering space for community, it's where stories come to life—bold in artistry and rich in history, deeply rooted in the city it serves.

Led by Walter Artistic Director Susan V. Booth and Executive Director John Collins, The Goodman sparks conversation, connection and change through new plays, reimagined classics and large-scale musicals. With distinctions including nearly 200 world or American premieres, two Pulitzer Prizes, 22 Tony Awards and nearly 200 Joseph Jefferson Awards, The Goodman is proud to be the first theater to produce all 10 plays of August Wilson's "American Century Cycle." In addition, the theater frequently serves as a production partner—with national and international companies to Chicago's Off-Loop theaters—to help amplify theatrical voices.

But The Goodman believes a more empathetic, more connected Chicago is created one story at a time, and counts as its greatest legacy the community it's built. Generation-spanning productions and programs offer theater for a lifetime; from Theater for the Very Young (plays designed for ages 0-5) to the long-running annual A Christmas Carol, which has introduced new generations to theater over five decades, The Goodman is committed to being an asset for all of Chicago. Education and Engagement programs led by Clifford Director of Education and Engagement Jared Bellot and housed in the Alice Rapoport Center use the tools of theater to spark imagination, reflection and belonging. Each year, these programs reach thousands of people (85% from underserved communities) as well as educators, artists and lifelong learners across the city.

The Goodman stands on the unceded homelands of the Council of the Three Fires—the Ojibwe, Odawa, and Potawatomi Nations—and acknowledges the many other Nations for whom this land now called Chicago has long been home, including the Myaamia, Ho-Chunk, Menominee, Sac and Fox, Peoria, Kaskaskia, Wea, Kickapoo, and Mascouten. The Goodman is proud to partner with the Gichigamiin Indigenous Nations Museum (Gichigamiin-Museum.org) and the Center for Native Futures (CenterForNativeFutures.org)—organizations devoted to honoring Indigenous stories, preserving cultural memory, and deepening public understanding.

The Goodman was founded by William O. Goodman and his family to honor the memory of Kenneth Sawyer Goodman—a visionary playwright whose bold ideas helped shape Chicago's early cultural renaissance. That spirit of creativity and generosity endures today. In 2000, through the commitment of Mr. Goodman's descendants—Albert Ivar Goodman and his late mother, Edith-Marie Appleton—The Goodman opened the doors to its current home in the heart of the Loop.

Holiday is a play written by Philip Barry in 1928 before the tragic stock market crash of 1929.  It has been made into two movies, most notably in 1938 starring Cary Grant and Katherine Hepburn. This adaptation, artfully authored by Richard Greenberg, has brought a case study in the class system and its relationship with money and assets is not only thought-provoking but clever.  The use of modern idioms mixed with classic patter delivery of movies of the thirties and forties keeps the audience rapt awaiting the next joke or witticism to land.  The direction by Robert Falls is a translation of reticence and underlying suppressed emotion of a family possessing generational wealth on the upper east side of New York City. Falls delivers Greenberg’s words in a manner so true that the piece has a voyeuristic tone.

The play opens in the main modernized parlor of a Manhattan mansion so beautifully appointed that audible gasps could be heard throughout the audience. The scenic design by Walt Spangler is so spot on in depicting “Old Money” right down to the mallard decoys on the mantel that it transports everyone into the Seton family fortunes.  Lighting designer Amith Chandrashaker’s work baths the Seton family like a beautifully seated family portrait.  When the curtains are parted to allow daylight to seep into the parlor, it makes one question what time they arrived at the theatre.  It is in this opening scene that we meet the Seton family and guests.  Julia Seton (played by Molly Griggs) the compliant entitled daughter and her new beau, Johnny Case played with great range by Luigi Sottile. Linda Seton, the defiant sibling seeking to change the world and identify with the residents and children of Red Hook played with just the right mixture of outrage and vulnerability by Bryce Gangel and Ned Seton (Wesley Taylor), the youngest namesake brother who has failed to measure up. And, the scion of the fortune, Edward Seton played with steely reserve by Jordan Lage who ensures “the equilibrium of the house is not disrupted” as one scene tells us.

The story unfolds as Julia is besotted with Johnny Case, a new beau met in a “spa”, and we watch her try to mold him into a man to join the family business after first making his own millions. Case ended up in the “spa” through an intervention by friends who realized he was working himself to misery. Being around the family and relations of Julia Johnny begins to reexamine his life’s purpose and path.  With a healthy dose of sarcasm from Linda and Ned we see wealth and privilege scoffed at as much as it is valued and revered by Julia.  Johnny is a ping pong ball in the family’s game of emotions and parlayed witticisms. We travel in time through a season of proposal and an engagement announcement to other reasons to celebrate. We visit the childhood traumas of a mother dying young of cancer with her dreams of being a prima ballerina dashed by Edward Seton and his insistence on the importance of an heir. Each child is a character study in the privilege and travails of the very wealthy.  Johnny Case, who is first viewed as a pawn in their family games goes through his own evolution and the realism of wealth, money and power. Wesley Taylor is the standout of a well guided and directed ensemble.  He plays Ned with such mirth, hilarity and tragic pain that one moment he has you laughing and the next on the verge of tears. Every scene he is in becomes pivotal.

The other unexpected “star” of this show is the scenic design and transition.  One moment you are in the parlor and then next act transported to the childhood nursery/playroom of memories styled by their mother.  It hardly seems possible but in almost a magical fable like scene change we end up in the parlor.  It’s a feat rarely seen on stage and every member of the design and stage management team needs to be aware that their contribution to this piece is pivotal, both literally and figuratively. The scenic design alone is a reason not to miss this show but go for the laughs and beautiful line delivery such as “Alexa stop the joy”.  Modern, relatable and beautifully delivered.

There’s nothing not to love about Cary Grant and Katherine Hepburn but Robert Fall’s direction of these talents honor this beautifully written adaptation which is a mini-Holiday for anyone who attends.

HOLIDAY, now playing at the Goodman’s Albert Theatre in Chicago through March 1, 2026.

https://www.goodmantheatre.org for ticket and performance time information.

Mary Beth Euker is a founding director of Cricket Theatre Company in Lake Zurich, Illinois, has appeared in shows at Devonshire Theatre in Skokie and Woodstock Opera House and directs in Lake Zurich at various schools and for Cricket.

*UPDATE - Extended through March 8th

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

An Ibsen play on a cold winter’s evening just feels right. Marti Lyons delivers a stylish (and concise) production of “Hedda Gabler” at Remy Bumppo. With an impressive cast of Remy Bumppo ensemble and new faces, this 100-minute version gets right to the point.

Among the countless translations and adaptations of “Hedda Gabler” that have been written, Christopher Shinn’s version makes a bold, modern statement. Taken from a literal adaptation by Anne-Charlotte Hanes Harvey, this telling dispenses with Ibsen’s ambiguity almost entirely. Classic melodramas tend to run long and in this day and age, audiences easily grow frustrated with overly long plays laden with innuendo. Shinn’s version is structured in a way that modern audiences will take more from. While the Shinn script may not have been a success on Broadway in 2009 (even with Mary Louise Parker), Marti Lyons’ revival strikes the right balance with it.

Ensemble member Annabel Armour as Aunt Tesman has the first lines and immediately sets the tone of the new Tesman home, a vibe that’s somewhere between charming and unsettling. Armour captures something both aspirational and pitiful about the character in her reliably masterful way. In this telling, Hedda, who is played by Aurora Real de Asua, is feral, almost manic. Her short temper is always shown through smiling teeth and far-off looks. Hedda here is more certain of feeling trapped in a bad marriage. It’s less of a revelation and more of a palpable sense of dread. The only female character that seems to threaten Hedda is Thea Elvsted played by Gloria Imseih Petrelli, whose raw vulnerability is a counter to Hedda’s rampant cruelty.

Greg Matthew Anderson plays the blackmailing judge Brack with such dastardly charm, it’s almost hard to see what Hedda objects to. In the same way Thea is the counter of Hedda, Ejlert Lovborg (Felipe Carrasco) is the helplessly vulnerable of the two men. Carrasco’s performance is also that of a condemned man. In other scripts, this acceptance comes at a more laborious price. Here his conflict with conventional society feels urgent from the start.

Remy Bumppo brings a lot of humor to “Hedda Gabler”. Hedda’s one-liners have always been amusing, in the same mean-spiritedness of an Albee play. Linda Gillum brings a lot of physical comedy as Berte, the Tesman’s quirky maid. Shinn’s script has a sharp sense of wit, even if the somewhat frank sexual metaphors seem closer to 2026 than 1891.

Along with a more forwardly grown-up script, Kotryna Hilko and Joe Schermoly’s costumes and sets are bathed in a moody purple and when paired with Christopher Kriz' electrifying incidental music brings on the feeling of an impending storm.

“Hedda Gabler” is a divisive play. You can either see her as a victim or a spoiled villain. Shinn makes that decision for you, in at-times clunky divulgences. This particular version might not find you quibbling over the character’s true wants or intentions. Instead, Shinn is cutting away the excess so audiences can focus on the powerful statement Ibsen was making before most women knew true autonomy.

Through March 8 at Remy Bumppo at Theatre Wit. 1229 W Belmont Ave. 773-975-8150

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

Lyric Opera of Chicago presents Gabriela Lena Frank and Nilo Cruz’s El último sueño de Frida y Diego (The Last Dream of Frida and Diego), on stage March 21 – April 4, 2026. This new opera poses an impossible question: How would you spend a single day reunited with lost love? On the Day of the Dead, three years after her death, Mexican artist Frida Kahlo crosses over from the underworld for 24 fleeting hours with husband and artist Diego Rivera. What unfolds is a dreamlike journey through memory, passion, and everything they created together — both on canvas and in life.

Following its critically praised 2022 world premiere in San Diego, this opera, steeped in magical realism, arrives as the second full-length Spanish-language opera presented by Lyric, following Daniel Catán and Marcela Fuentes-Berain’s Florencia en el Amazonas in the 2021/22 Season. With vivid colors, music inspired by Mexican folk traditions, and staging that transforms the Lyric Opera House into a portal between worlds, this production brings Frida Kahlo’s artistic vision to theatrical life. Mezzo-soprano Daniela Mack stars as Frida in her return to Lyric, joined by baritone Alfredo Daza in his Lyric debut as Diego, soprano Ana María Martínez as Catrina, and countertenor Key’mon W. Murrah in his Lyric debut as Leonardo. Director Lorena Maza and conductor Roberto Kalb, both in their Lyric debuts, lead a creative team that honors the Mexican culture and artistry at the opera’s heart.

A love story that transcends death. El último sueño de Frida y Diego unfolds in 1957, three years after Frida Kahlo’s death. Diego Rivera, aging and consumed by grief, longs for one final moment with Frida. In Mictlán, the Aztec underworld, Frida has found peace, free from the physical pain and heartbreak that defined her earthly life. But Catrina, Keeper of the Dead, insists she must accompany Diego as he nears the end of his life, while Leonardo, the spirit of a young actor, urges her to return — not just for Diego, but for herself and her art.

Frida agrees to return for 24 hours with one unbreakable rule: she cannot touch the living. Her reunion with Diego unfolds in magical realism as the two artists wander through Alameda Park and Casa Azul, rediscovering joy and trying to heal old wounds, both physical and emotional. When Frida breaks the rule and touches Diego, the memories of pain and trauma come flooding back. Yet even in suffering, she finds clarity: Art is the only way to outlive death.

Authors who capture the soul of the story. The creative partnership between composer Gabriela Lena Frank and librettist Nilo Cruz brings extraordinary credentials and deep cultural understanding to El último sueño de Frida y Diego. Their opera functions as both an intimate character study and a vibrant celebration of Mexican artistic heritage while speaking to universal themes of love, loss, and artistic legacy.

Grammy Award-winning composer Gabriela Lena Frank, recently named Musical America’s 2026 Composer of the Year, is one of America’s most celebrated living composers, known for music that explores her multicultural heritage — Peruvian, Chinese, Lithuanian, and Jewish — with particular focus on Latin American musical traditions. Born with high-moderate/near-profound hearing loss, Frank has become a powerful voice for disability representation in classical music, demonstrating that composers can create extraordinary work through different ways of experiencing sound. Frank has received numerous honors including the Latin Grammy Award for Best Contemporary Classical Composition; the 2020 Heinz Award recognizing her for breaking gender, disability, and cultural barriers in classical music; a Guggenheim Fellowship; and commissions from major orchestras and opera companies worldwide. Her music weaves together orchestral colors with rhythms and melodies inspired by Mexican folk music, capturing the surrealist beauty of Frida’s visual art while honoring the emotional depth of her lived experience.

Pulitzer Prize-winning playwright Nilo Cruz created the libretto, bringing his gift for poetic, emotionally resonant language to Frida and Diego’s story. His Spanish text moves fluidly between the real and the imagined, the painful and the joyful, giving voice to Frida’s fierce independence, her artistic vision, and her complex relationship with Diego — a love marked by both deep devotion and profound betrayal. In 2003, Cruz became the first Latino to win the Pulitzer Prize for Drama for his play Anna in the Tropics. His work is known for its lyrical beauty, its exploration of Latin American and Cuban-American experience, and its ability to find magic in everyday moments. Cruz previously collaborated with Lyric and composer Jimmy López in the 2015/16 Season for the world premiere of Bel Canto, based on the Ann Patchett novel.

A singing actress who embodies Frida’s fire and fragility. Mezzo-soprano Daniela Mack returns to Lyric to star as Frida Kahlo, bringing to the role her acclaimed artistry and commanding stage presence. Mack recently appeared at Lyric as Angela in Missy Mazzoli and Royce Vavrek’s The Listeners in the 2024/25 Season, earning praise for her dramatic intensity and vocal beauty. Her international career includes performances at the Metropolitan Opera, San Francisco Opera, Houston Grand Opera, and major European houses. Known for her ability to inhabit complex, unconventional characters, Mack possesses both the rich, warm timbre ideal for Frank’s melodic writing and the dramatic fire needed to capture Frida’s indomitable spirit. Stephanie Sanchez sings the role of Frida on Wednesday, April 1.

A cast that brings passion and artistry to every role. Colombian baritone Alfredo Daza makes his Lyric debut as Diego Rivera, the legendary muralist whose tumultuous marriage to Frida forms the opera’s emotional core. Daza has performed at major opera houses throughout Latin America, Europe, and the United States, earning particular acclaim for his portrayals of complex, larger-than-life characters. His rich baritone and powerful stage presence make him ideal for Diego, whose outsized personality and artistic genius were matched only by his capacity for passionate and perilous living.

Puerto Rican soprano Ana María Martínez, on stage at Lyric this winter as Despina in Mozart’s Così fan tutte, sings the role of Catrina, the skeletal Keeper of the Dead who bridges the worlds of the living and the departed. Martínez last appeared at Lyric in the title role of Florencia en el Amazonas in the 2021/22 Season. Her luminous soprano and elegant stage presence have made her one of the leading interpreters of Latin American opera, with performances at the Metropolitan Opera, LA Opera, and internationally. As Catrina, Martínez brings both authority and compassion to this figure drawn from Mexican Day of the Dead traditions.

Rising-star countertenor Key’mon W. Murrah makes his Lyric debut as Leonardo, the spirit who encourages Frida to return to the living world. Winner of Washington National Opera’s Marian Anderson Award in 2024, Murrah’s burgeoning career includes performances at major American opera companies, where his distinctive countertenor voice and natural charisma have earned critical praise. His portrayal of Leonardo provides a crucial voice urging Frida toward life and art, even as she resists.

The production also features Ensemble members from Lyric’s acclaimed artist-development program, The Patrick G. and Shirley W. Ryan Opera Center, including tenor Finn Sagal as 1st Villager, tenor Daniel Luis Espinal as 2nd Villager & A Young Man, bass-baritone Benjamin R. Sokol as 3rd Villager, soprano Adia Evans as 1st Frida Image, mezzo-soprano Alexis Peart as 2nd Frida Image, and mezzo-soprano Camille Robles as 3rd Frida Image. Mezzo-soprano Corinne Wallace-Crane sings the role of Guadalupe Ponti.

A conductor who honors the music’s cultural roots. Mexican-born conductor Roberto Kalb makes his Lyric debut leading El último sueño de Frida y Diego, bringing a deep understanding of both Latin American musical traditions and contemporary opera. He conducted the opera's world premiere at San Diego Opera and subsequent performances at San Francisco Opera. Music Director of Detroit Opera since 2022, Kalb has built an international career conducting orchestras and opera companies throughout the Americas and Europe. He has particular expertise in contemporary repertoire and works that incorporate folk music traditions into classical forms. His leadership ensures that Frank’s score receives performances that honor both its Mexican folk inspirations and its sophisticated orchestral writing. Under Kalb’s baton, the Lyric Opera Orchestra becomes an essential character in the storytelling, painting Frida’s emotional journey through sound. Chorus Director Michael Black leads the 44 members of the Lyric Opera Chorus.

A director who brings Frida’s visual world to life. Director Lorena Maza makes her Lyric debut with El último sueño de Frida y Diego, bringing her distinctive theatrical vision to this production. A native of Mexico, Maza brings cultural authenticity and deep understanding of the artistic traditions that shaped both Frida and Diego’s work. Her direction emphasizes the opera’s magical realism, creating a production where the boundaries between life and death, memory and reality, past and present, all dissolve into dreamlike theatrical poetry. Maza’s staging honors the surrealist touches that made Frida’s paintings so distinctive while ensuring the emotional truth of the story remains central.

A production that dazzles the eye. The creative team includes set designer Jorge Ballina in his Lyric debut, whose designs evoke both the vivid colors of Frida’s paintings and the liminal space between worlds; costume designer Eloise Kazan in her Lyric debut, whose creations honor Mexican traditional dress and incorporate surrealist elements; lighting designer Victor Zapatero in his Lyric debut; and choreographer August Tye, a longtime Lyric collaborator who has participated in more than three dozen productions. Together, they create a visual experience as rapturous as Frida’s own canvases — a production where endlessly blooming marigolds, skeletal Catrinas, and the jewel-toned walls of Casa Azul transport audiences into Frida’s artistic vision.

When art becomes the bridge between worlds. Beyond its story of love and loss, El último sueño de Frida y Diego is a celebration of Mexican culture and the Day of the Dead traditions that honor the continuing connection between the living and those who have passed. Like the candlelit ofrendas offered on Día de Muertos, this opera doesn’t simply portray two artists’ fantastical reunion but honors the rituals of remembrance that keep memory and love alive. Frank’s sweeping music and Cruz’s poetic libretto create an operatic experience as emotionally rich as the lives that inspired it — a work that affirms art’s power to transcend death and keep our most important connections alive forever.

Performance Dates: Six chances to see El último sueño de Frida y Diego:

• Saturday, March 21, 2026 at 7:30 p.m.
• Tuesday, March 24, 2026 at 7 p.m.
• Thursday, March 26, 2026 at 7 p.m.
• Sunday, March 29, 2026 at 2 p.m.
• Wednesday, April 1, 2026 at 2 p.m.
• Saturday, April 4, 2026 at 2 p.m.

Language: Sung in Spanish, with easy-to-follow projected English titles above the stage.

Running time: Approximately 2 hours and 15 minutes, including one intermission.

Pre-performance talks: Ticketholders are invited to a free pre-opera talk on El último sueño de Frida y Diego's composition history and cultural context; the talks begin one hour before each performance in the theater’s Steiner Parquet (the main floor).

Accessibility: Audio description, a guided touch tour of the set, and SoundShirts are available at the Sunday, March 29 matinee performance. Braille and large-print programs, high-powered opera glasses, assistive listening devices, and booster seats are available from the theater’s Steiner Parquet coat checks at all performances. For more information on these and other accessibility assets, visit lyricopera.org/accessibility.

Production history: A co-production of San Diego Opera (world premiere, 2022) and San Francisco Opera.

Location: Lyric Opera House, 20 N. Wacker Drive, Chicago, Illinois.

For more information and tickets, visit lyricopera.org/frida or call 312.827.5600.

Goodman Theatre celebrates 100 years and looks to the future with the opening of Chicago’s newest cultural attraction, Theater of the Mind—a one-of-a-kind theatrical immersive experience by Academy, Grammy, and Tony Award-winning artist David Byrne with writer Mala Gaonkar. Today, director Andrew Scoville proudly announces the 11-member, all-Chicago cast who will steward the 75-minute journey of self-reflection, discovery and imagination: James Earl Jones  II (Gershwin’s Porgy and Bess and Come from Away national tours), Elizabeth Laidlaw (Goodman’s The Penelopiad, The Rose Tattoo) Helen Joo Lee (Goodman’s A Christmas Carol), Em Modaff (Paramount Theatre’s Fun Home, School of Rock), Victor Musoni (Chicago Shakespeare’s Rome Sweet Home, Definition Theatre and Goodman’s Fat Ham), AJ Paramo (Goodman’s Revolution(s)), Shariba Rivers (American Players Theatre’s The Barber and the Untamed Prince, A Midsummer Night’s Dream), Kelli Simpkins (MCC’s Charm), Lucky Stiff (Goodman’s A Christmas Carol), and understudies Maidenwena Alba (Albany Park Theater Project’s Port of Entry) and Emily Zhang (Strawdog Theatre’s The F*ck House).  Theater of the Mind appears March 11 – May 31, 2026, at the Reid Murdoch Building (333 N. LaSalle). Tickets ($66-$96, subject to change) are available at the Goodman Theatre Box Office (170 N. Dearborn), by calling 312.443.3800 or by purchasing online at TheaterOfTheMindChicago.com.

"We are so proud to welcome Theater of the Mind with its fantastic company of Chicago’s boldest actors to the heart of downtown this Spring,” said Goodman Theatre Walter Artistic Director Susan V. Booth. “In planning our Centennial Season, it felt essential to go big—to offer something courageous, wildly creative and new—and double down on what it means to be Chicago’s flagship theater. Unprecedented in size and scope, this is exactly the kind of envelope-pushing project that has long been a hallmark of a theater that has continued to reinvent itself over the past century. We’re grateful to David, Mala and Andrew for this unique collaboration—as well as to those who have shown early support and look forward to sharing Theater of the Mind with our city next month.”

“This city has a wild amount of talent, and I feel so lucky to have this extraordinary group of actors joining Theater of the Mind. Our Guides play such an important role, stewarding each group of audience members through this intimate experience that challenges our perception of reality. I can't wait for this group to lead the way,” said director Andrew Scoville. 

The Goodman is grateful for the support of the Alfred P. Sloan Foundation, Illinois Office of Tourism, Northern Trust and Friedman Properties. Theater of the Mind is produced here in special arrangement with Arbutus, a not-for-profit founded by David Byrne to celebrate, re-present, and amplify ideas found in surprising places.

Company of Theater of the Mind

Co-created by David Byrne and Mala Gaonkar

Directed by Andrew Scoville

Guides: James Earl Jones II, Elizabeth Laidlaw, Helen Joo Lee, Em Modaff, Victor Musoni, AJ Paramo, Shariba Rivers, Kelli Simpkins, and Lucky Stiff

Understudy: Emily Zhang

Assistant Director/Understudy: Maidenwena Alba

Creative Team

Technology Director: Heidi Boisvert, PhD

Technology Producer: LeeAnn Rossi

Scenic Designer: Neil Patel

Costume Designer: Sarita Fellows

Lighting Designer: Jeannette Oi-Suk Yew

Sound Designer: Cody Spencer

Associate Scenic Designer: Lisa Orzolek

Associate Costume Designer: Caryn Klein

Associate Lighting Designer: Brian Elston

Associate Sound Designer: Forrest Gregor

Local Assistant Scenic Designer: Ryan Emmens

Assistant Directors: Maidenwena Alba, Betty Hart, and Amanda Berg Wilson

Production Manager: Matt Marsden

Technical Director: Brian Claggett

Props Department Head: Adam Weiss-Halliwell

General Manager: Karen Berry

Casting is by:  Lauren Port, CSA

Performance Schedule

Starting March 11, Theater of the Mind will be staged Tuesday evenings starting at 6 pm; Wednesdays starting at 2 pm; Thursday evenings starting at 6 pm; Friday evenings starting at 5 pm; Saturdays starting at noon; and Sunday afternoons starting at 12:30 pm. Performances begin every 15 minutes, and each includes 16 audience members. A complete schedule can be found at theaterofthemindchicago.com

About Goodman Theatre

Theater of the Mind makes its Midwest debut during The Goodman’s Centennial 25/26 Season. Since 1925, The Goodman has been a theatrical home for artists and a gathering space for community. It’s where stories come to life—bold in artistry and rich in history, deeply rooted in the city it serves. Led by Walter Artistic Director Susan V. Booth and Executive Director John Collins, The Goodman sparks conversation, connection, and change through new plays, reimagined classics, and large-scale musicals. With distinctions including world and American premieres, Pulitzer Prizes, Tony Awards, and Joseph Jefferson Awards, The Goodman is proud to be the first theater to produce all 10 plays of August Wilson’s “American Century Cycle.” But The Goodman believes a more empathetic, more connected Chicago is created one story at a time and counts as its greatest legacy the community it’s built. The Goodman was founded by William O. Goodman and his family to honor the memory of Kenneth Sawyer Goodman—a visionary playwright whose bold ideas helped shape Chicago’s early cultural renaissance. That spirit of creativity and generosity endures today.

As a longtime comedy fan, seeing a show at Second City has been on my bucket list for years, so when the opportunity to attend Black and Highly Flavored came up, I jumped at it. That excitement, however, was paired with some hesitation: I questioned whether I was the right person to review a show rooted in experiences I do not personally share. By the end of the night, after laughing until I cried, those concerns were completely put to rest.

At a time when diversity in comedy too often comes at the expense of BIPOC performers rather than celebrating their lived experiences, Black and Highly Flavored stands out as a rare gem. Now in its fourth year as Second City’s Black Excellence Revue, the show is a sharp and joyful two-act performance that blends sketch comedy, improv, music, and dance to uplift Black artists while remaining accessible, engaging, and enjoyable – and even relatable – for everyone in the audience.

Jam-packed from start to finish, this comedy show includes upwards of 20 sketches, ranging in length from a few minutes to as short as 15 seconds. The content of the skits is just as wide-ranging, pulling from everything from 70s laugh-track sitcoms to ChatGPT, and from John Steinbeck to Janet Jackson. With such varied material, it’s inevitable that not every joke lands with every audience member; however, the lightning-fast pacing of the show means that even if a joke doesn’t land for you, the show has already moved on to its next laugh.

Not only are the scripted parts of the show hilarious, but it also features improvisation at many points throughout the night. Black and Highly Flavored is particularly smart about how and where improv is incorporated, utilizing the famously divisive style of comedy to connect with the audience through tailored, rapid-fire one-liners, maintaining the polish of the longer, scripted skits.

Under the direction of Julia Morales, the six-person cast is stellar, and each actor truly brought their own distinct charm to the show. Tyler Vanduvall delivers off-the-charts physical comedy to the stage, throwing himself – sometimes literally – into every role, human or not. Kimberly Michelle Vaughn wears her heart on her sleeve on stage, exuding talent and joy, as she sings, dances, and laughs like no one is watching. Lauren Walker’s characterization is unmatched, making every one of her (many, many) roles just as animated and memorable as the last. EJ Cameron engages with the audience like no other, skyrocketing the intimacy of the show through his charisma alone. Jillian Banks is spunky and larger-than-life, adding both laughs and layers to any scene she’s in. Last, but certainly not least, is Jason Tolliver: the improv king of the night. Tolliver is sharply funny – and he knows it – allowing his genuine self-amusement to shine through on stage, making you laugh first at the joke, and then again at his reaction to himself.

Although not technically complicated, Black and Highly Flavored’s production was incredibly well planned and curated. Every lighting cue, sound effect, prop, and costume felt perfectly curated to the skit without overwhelming the show. The use of screens on stage was balanced well to be additive, rather than taking away from the joys of real-life theatre by being overbearing. The production from start to end was incredibly well-paced, void of any painful transitions or dead moments. This is undoubtedly a team effort but could not have been accomplished without Music Director and live musical performer Cesar Romero, who both beautifully and comedically underscored the whole evening. Add to that an in-your-seat food and drink menu, and Second City’s UP Comedy Club might just have it all!

Black and Highly Flavored is running at Second City’s UP Comedy Club on Thursdays and Fridays through March 20th. Tickets are available at www.secondcity.com/shows/chicago/the-second-city-black-excellence-revue-chi.

Collaboraction  Theatre Company could not have chosen a more resonant inaugural production for its new House of Belonging than Trial in the Delta: The Murder of Emmett Till. In this sleek, in-the-round studio in Humboldt Park, the company inaugurates its new home by opening an old wound—one that America has never fully allowed to heal. The result is not merely a staging of history, but an act of communal witnessing, one that insists the past is not past.

Co-adapted by G. Riley Mills and Willie Round and co-directed by Anthony Moseley and Dana N. Anderson, Trial in the Delta transforms the 1955 courtroom proceedings in Sumner, Mississippi, into a visceral live docudrama. Actors emerge, take the stand, and deliver testimony drawn from the long-buried trial transcript of Roy Bryant and J.W. Milam, the men who kidnapped and murdered 14-year-old Emmett Till. In this immersive setting, spectators are not allowed the comfort of distance. You are seated inside the machinery of injustice.

The production’s most devastating power lies in its restraint. This is not melodrama; it is documentation made theatrical. When NK Gutiérrez steps forward as Mamie Till-Bradley, the room seems to recalibrate its breathing. Her presence is not performative grief but moral force. Mamie’s insistence on truth—her refusal to look away, her demand that the world see what was done to her son—becomes the spiritual engine of the evening. Darren Jones’s Mose Wright, Mysun Aja Wade’s Willie Reed and Donald Fitzdarryl’s Chester Miller, embody the perilous bravery of Black witnesses testifying in a Jim Crow courtroom, where truth itself was an act of defiance.

The ensemble functions as a grim chorus of American roles: judges, clerks, journalists, sheriffs, defendants, and bystanders. Richard Alan Baiker’s Judge Curtis Swango carries the chilly authority of a system that pretends neutrality while protecting white supremacy. Tyler Burke and Matt Miles, as Roy Bryant and J.W. Milam, avoid caricature; their ordinariness is the horror. Evil here is not monstrous but banal, upheld by procedure and custom. That banality is the production’s sharpest blade.

Prosecutor Gerald Chatham (John Henry Roberts, center) holds a photo of Emmett Till as he asks Till’s murderers Roy Bryant (Tyler Burke, left ) and J.W. Milam (Matt Miles, right) if they recognize their victim, as Till’s mother Mamie Bradley (NK Gutiérrez) looks on, in Collaboraction's Trial in the Delta: The Murder of Emmett Till. 

Emmy Weldon’s set and Levi Wilkins’s lighting make elegant use of Collaboraction’s new 99-seat flexible studio, shaping the room into a courtroom that feels both provisional and eternal—anywhere, anytime. Shawn Wallace’s original music hums beneath the proceedings like a low current of grief and warning, while Warren Levon’s sound design places the audience inside a sonic environment of testimony, tension, and aftermath. The design team’s work never distracts; it quietly conspires with the text to tighten the emotional vise.

What distinguishes this staging from earlier iterations is how fully the new space is activated as a moral arena. The reserved jury seating—occupied by audience members—does more than gesture at interactivity. It implicates. You are reminded, without theatrical gimmickry, that verdicts are rendered not only in courtrooms but in communities, institutions, and histories. The post-show “Crucial Conversation” deepens that charge, extending the production beyond performance into dialogue—an extension of Collaboraction’s KEDA methodology in action.
KEDA—Knowledge, Empathy, Dialogue, and Action—frames the company’s belief that theatre should not end with reflection, but move audiences toward change.

Opening the House of Belonging with Trial in the Delta is a statement of values. This is not a theater christened with spectacle or escapism, but with reckoning. In a cultural moment eager to repackage or blunt the edges of history, Collaboraction insists on confrontation. The question the production leaves behind is not simply what happened in 1955, but what we have allowed to keep happening since.

Trial in the Delta: The Murder of Emmett Till does not offer catharsis. It offers clarity. It reminds us that justice delayed is not just justice denied—it is justice rehearsed in different forms, across different bodies, in different decades. In Collaboraction’s new home, the walls are fresh, the tech is state-of-the-art, and the future feels open. But the story told on opening night is a reminder that belonging, in America, has always been contested—and that the work of making it real is unfinished.Top of Form

HIGHLY RECOMMENDED

When: Extended through March 15th!

Where: Kimball Arts Center, 1757 N. Kimball Ave

Running time: under two hours, including a short Crucial Conversation after every performance

Tickets: $25 - $55.00 (10% discount for groups of 10 or more)

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(312) 226-9633

Chicago Opera Theater (COT) presents the Chicago premiere of Der Silbersee: Ein Wintermärchen (The Silver Lake – A Winter’s Fairy Tale), a genre-defying theatrical work with music by Kurt Weill and text by Georg Kaiser that was banned by the Nazi regime just weeks after its 1933 premiere. Directed by COT General Director Lawrence Edelson and conducted by James Lowe in his COT debut, this revelatory new production will be performed March 4 at 7:30 PM, and March 7 & 8 at 3:00 PM at the Studebaker Theater, 410 S Michigan Ave. Tickets are $50-$150 and are available now at cot.org. The work is presented in German with English supertitles.

Der Silbersee marked Kurt Weill’s final theatrical work before he was forced to flee Germany as a Jewish composer, escaping the rising tide of fascism and eventually making his home in the United States. A groundbreaking, long-suppressed work by the composer of The Threepenny  Opera and Street Scene, Der Silbersee blurs the boundaries between opera, operetta, and musical theater. An act of artistic defiance at the moment of its creation, the work helped pave the way for modern music drama and remains a strikingly relevant reflection on humanity’s struggles and hopes. Der Silbersee tells the poignant story of Severin, a destitute man shot while stealing a pineapple, and Olim, the policeman who wounds him but later nurses him back to health as he seeks redemption. At its heart, this deeply human work asks a question that resonates with unsettling clarity today: How can we find reconciliation and hope in a fractured world? Weill’s extraordinary score—blending late-Romantic lyricism, sharp modernist edges, and the propulsive energy of popular song—moves seamlessly between satire, poignancy, and surrealism, underscoring the work’s emotional depth and political urgency.

COT General Director Lawrence Edelson on Der Silbersee: “When I first encountered Der Silbersee, I was struck not only by the circumstances in which it was written, but by how enduringly it speaks to our time. By cloaking a searing social critique in the language of a fairy tale, Kurt Weill and Georg Kaiser transformed political protest into poetic myth, using allegory to confront society in a moral winter. Written at a moment of profound political and ethical collapse, the work grapples with wealth inequality, the rise of fascism, and the violence of the state—forces that continue to forces that refuse to remain confined to history, resurfacing whenever societies lose their moral compass.. What makes the piece extraordinary, however, is that it refuses to surrender to despair. This theatrical masterpiece uncovers a profound hope—a belief that empathy and moral choice remain possible even when the world feels irreparably broken. Producing Der Silbersee today feels both like an act of remembrance and an act of resistance. I hope our new production allows contemporary audiences to encounter the work not as a historical artifact, but as a living moral inquiry—one that asks us, what kind of society we are choosing or allowing ourselves to become.”

The cast is led by tenor  Chaz’men Williams-Ali as Severin and bass-baritone Justin Hopkins as Olim. They are joined by soprano Ariana Strahl as Fennimore; tenor Dylan Morrongiello as Lottery Agent/Baron Laur; mezzo-soprano Leah Dexter as Frau von Luber; soprano Boya Wei and mezzo-soprano Sophia Maekawa as the Shopgirls; actor Korey Simeone as the Policeman/Doctor; and tenor Sam Grosby, baritones Evan Bravos and Leroy Davis, and bass-baritone Steele Fitzwater as the Four Youths. Jeffrey D. Kmiec is the Scenic Designer, Erik Reagan Teague is the costume designer, and Marcella Barbeau is the Lighting Designer.

In the weeks leading up to the opening, COT invites the public to deepen their engagement with Der Silbersee through two free, thought-provoking events that illuminate the opera’s historical context, artistic legacy, and striking contemporary relevance.

Free Public Event #1

1933: The Turning Point — Art, Oppression, and Resistance

Monday, February 9, 2026 | 6:30 PM
Harold Washington Library Center – Cindy Pritzker Auditorium

Chicago Opera Theater and the Illinois Holocaust Museum & Education Center partner for an illuminating evening that explores how 1933 marked a profound rupture in the history of both Europe and the arts. That year, Adolf Hitler’s appointment as Chancellor of Germany ushered in the Nazi dictatorship, unleashing a systematic campaign of antisemitism, censorship, and cultural control. Within months, civil liberties were suspended, Jewish artists were expelled from their professions, and a new ideology of “racially pure” art replaced the creative pluralism of the Weimar Republic. Amid this upheaval, composer Kurt Weill and playwright Georg Kaiser premiered Der Silbersee. The work was banned within weeks of its debut and its creators forced into exile. Yet its music and message endure as a testament to the power of art to bear witness and to resist tyranny. 1933: The Turning Point — Art, Oppression, and Resistance combines live musical excerpts from Der Silbersee with historical context and dialogue, shedding light on how this masterpiece reflects the political and moral crises of its time. Together, COT and the Illinois Holocaust Museum invite audiences to reflect on how the lessons of 1933—when democracy collapsed, truth was suppressed, and art was silenced—remain urgently relevant today.

Free Public Event #2

Close-Up with Der Silbersee

Thursday, February 19, 2026 | 7:00 PM
Newberry Library

The subtitle of Der Silbersee translates into English as “A Winter’s Fairy Tale.” This deliberate reference to Heinrich Heine’s Deutschland: Ein Wintermärchen signals that the opera was never intended as a children’s fantasy, but as a poetic reflection on a society in moral winter—an idea that feels strikingly resonant today. Fairy tales are not solely escapist diversions; they are powerful vessels for moral clarity. Through the language of wonder, they confront fear, cruelty, loss, and redemption, shaping archetypes we recognize instinctively. Although Der Silbersee was not conceived as a child’s tale, director Lawrence Edelson became increasingly fascinated by how fairy tales are first encountered—not as literature, but as formative stories absorbed in childhood, when our sense of right and wrong is still taking shape. This insight inspired Edelson and his design collaborators to imagine the opera as unfolding within a child’s bedroom—not to make the work childish, but to reveal how innocence can perceive moral truth with piercing clarity. Join us at The Newberry Library for an engaging behind-the-scenes conversation to explore how the evocative visual world of this new production is being brought to life. The evening will also feature live excerpts from this unjustly neglected masterpiece, performed by members of the cast—an inspiring preview of Chicago Opera Theater’s upcoming production.

Both events are free, but advance registration is highly recommended due to limited seating capacity.

Leadership support for Der Silbersee has been provided by the Kurt Weill Foundation for Music, Inc., New York, NY, the National Endowment for the Arts, and Production Co-Sponsors Ethel Gofen Penelope Steiner and Virigina Tobiason.

COT thanks Nancy Dehmlow and the Morse & Genius Operating Reserve Fund for their generous support of the 2025/26 Season.

About Chicago Opera Theater

Chicago Opera Theater’s mission is to enrich the lives of those who live, work and play in Chicago by bringing rarely produced and contemporary operas to life, supporting gifted emerging artists, and providing hands-on experiences with opera that entertain, empower creativity, and cultivate a lasting and meaningful connection to the arts. Guided by our core values, COT serves Chicago through unique, relevant, and innovative opera experiences that reflect the aspirations of our city — dynamic, inclusive, and forward-thinking — fostering inspiration, dialogue and belonging. Since its founding in 1973, COT has grown from a grassroots community-based company to a national leader in an increasingly vibrant, diverse, and forward-looking art form. COT has staged over 160 operas, including over 90 Chicago premieres and 50 operas by American composers. COT is led by General Director Lawrence Edelson who was appointed in 2023.

Chicago Opera Theater’s 2025/26 season continues with the concert world premiere of Trusted May 30, 2026 – the seventh opera commissioned and developed under the auspices of the Vanguard Initiative.

For more information on Chicago Opera Theater productions, visit chicagooperatheater.org/