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Broadway In Chicago and Universal Theatrical Group announced today complete casting for the world-premiere Chicago production of the drop-dead hilarious new musical comedy, DEATH BECOMES HER.

Starring alongside the previously announced Tony Award nominee Megan Hilty as "Madeline Ashton," and Tony Award nominee Jennifer Simard as "Helen Sharp" are Tony Award nominee Christopher Sieber as "Ernest Menville," and Grammy Award winner Michelle Williams as "Viola Van Horn."

The ensemble includes: Marija Abney, Sarita Colon, Kaleigh Cronin, Natalie Charle Ellis, Taurean Everett, Michael Graceffa, Kolton Krouse, Josh Lamon, Sarah Meahl, Diana Vaden, Sir Brock Warren, Bud Weber, Ryan Worsing, Ericka Hunter Yang, and Warren Yang. Beau Harmon, Johanna Moise, Amy Quanbeck, and Zach Williams join as Swings.

DEATH BECOMES HER will play a pre-Broadway engagement in Spring 2024 at Broadway In Chicago's Cadillac Palace Theatre (151 West Randolph Street, Chicago, IL) from April 30 – June 2, 2024.

Madeline Ashton is the most beautiful actress (just ask her) ever to grace the stage and screen. Helen Sharp is the long-suffering author (just ask her) who lives in her shadow. They have always been the best of frenemies...until Madeline steals Helen's fiancé away. As Helen plots revenge and Madeline clings to her rapidly fading star, their world is suddenly turned upside down by Viola Van Horn, a mysterious woman with a secret that's to die for. 

After one sip of Viola's magical potion, Madeline and Helen begin a new era of life (and death) with their youth and beauty restored...and a grudge to last eternity.

Starring Tony Award® nominees Megan Hilty (Wicked, "Smash"), Jennifer Simard (Company, Disaster!), and Christopher Sieber (Spamalot, Company), with Grammy® Award winner Michelle Williams (Destiny's Child, Chicago), Death Becomes Her, based on the classic 1992 film, is a drop-dead hilarious new musical comedy about friendship, love, and burying the hatchet...again, and again, and again.

DEATH BECOMES HER features an original score by Julia Mattison and Noel Carey, a book by Marco Pennette, music supervision by Mary-Mitchell Campbell, orchestrations by Doug Besterman, dance & incidental music arrangements by Sam Davis, and music direction by Ben Cohn. DEATH BECOMES HER will be directed and choreographed by Tony Award winner Christopher Gattelli.

The creative team for DEATH BECOMES HER includes Derek McLane (Sets), Paul Tazewell (Costumes), Justin Townsend (Lights), Peter Hylenski (Sound), Rob Lake (Illusions), Charles LaPointe (Hair & Wigs), Joe Dulude II (Make-up), Thomas Schall (Fights), Tara Rubin Casting (Casting), 321 Theatrical Management (General Management), and Rachel Sterner (Production Stage Management)

DEATH BECOMES HER is produced by Universal Theatrical Group (UTG), overseen by Jimmy Horowitz (Chairman of Business Affairs and Operations, NBCUniversal), and led by Chris Herzberger (Senior Vice President, Universal Theatrical Group). UTG's Vice President of Creative Development and Production, Lowe Cunningham, oversees on behalf of UTG.

DEATH BECOMES HER is based on the Universal Pictures film, written by David Koepp and Martin Donovan, directed by Robert Zemeckis. For more information visit: DeathBecomesHer.com.

TICKET INFORMATION

Individual tickets for DEATH BECOMES HER range in price from $33.00 to $113.00 with a select number of premium seats available. Individual tickets are available by visiting www.BroadwayInChicago.com or going to any Broadway In Chicago venue box office. Tickets are also available for groups of 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. 

PERFORMANCE SCHEDULE

Tuesday and Wednesday performances are at 7:30 pm with Wednesday matinees at 2:00 pm on May 15, 22 & 29; Thursday, Friday, & Saturday performances are at 7:30 pm with Saturday matinees 2:00 pm on May 11, 18, 25 & 6/1; Sunday performances are at 2:00 pm and 7:00 pm on May 5 & May 12; 5:00 pm on May 19; 2:00 pm on May 26; and 2 pm on June 2. For more information visit BroadwayInChicago.com.

ABOUT UNIVERSAL THEATRICAL GROUP

Universal Theatrical Group (UTG) is the live theater division of the world-famous motion picture studio. UTG, which oversees both Universal Stage Productions and DreamWorks Theatricals, is currently represented by the record-breaking musical phenomenon Wicked, now celebrating its 20th smash-hit year on Broadway. Wicked has been seen by over 60 million people worldwide, making it one of the most successful theatrical ventures of all time. In 2008, Universal's musical adaptation of Billy Elliot opened on Broadway and went on to win ten Tony Awards including Best Musical. Universal also produced the Tony-nominated Broadway productions of Bring It On: The Musical and Irving Berlin's Holiday Inn with Roundabout Theatre Company. DreamWorks Theatricals, which became part of UTG in 2016, was formed to develop live entertainment inspired by the studio's acclaimed library of animated films, including the Tony-winning musical adaptation of Shrek and the West End production of The Prince of Egypt. 

ABOUT BROADWAY IN CHICAGO

Broadway In Chicago was created in July 2000 and over the past 23 years has grown to be one of the largest commercial touring homes in the country. A Nederlander Presentation, Broadway In Chicago lights up the Chicago Theater District entertaining up to 1.7 million people annually in five theatres. Broadway In Chicago presents a full range of entertainment, including musicals and plays, on the stages of five of the finest theatres in Chicago's Loop, including the Cadillac Palace Theatre, CIBC Theatre, James M. Nederlander Theatre, Auditorium Theatre, and just off the Magnificent Mile, the Broadway Playhouse at Water Tower Place.

For more information and tickets, visit www.BroadwayInChicago.com.

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Audiences can now see Message In A Bottle, a new dance theatre production choregraphed by Sadler's Wells' Associate Artist Kate Prince at Chicago's Cadillac Palace Theatre for a limited run, from February 28, 2024 to March 3, 2024. Produced by Sadler's Wells and Universal Music UK, Message In A Bottle is a dance theatre production set to the music of 17-time Grammy Award-winning artist Sting. Tickets are now available for this smashing production. Prices range from $32 to $95 with a select number of premium tickets available for all performances. Tickets are available now for groups of 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. Current Broadway In Chicago subscribers can add to their subscription by calling (312) 977-1717.

Performance Schedule

Wednesday through Friday 7:00PM (Thursday, February 29 Matinee at 1:00PM)

Saturday at 2:00PM and 7:30PM

Sunday at 1:00PM and 6:30PM

Sadler's Wells and Universal Music UK present Message In A Bottle, a new dance theatre production by Sadler's Wells Associate Artist Kate Prince, set to the music of 17-time Grammy Award-winning artist Sting. Message In A Bottle made its world premiere at Sadler's Wells' West End venue, the Peacock Theatre, on Wednesday 19 February 2020. Gravity-defying lyrical hip hop dance and breath-taking music combine in a moving story of humanity and hope.

Message In A Bottle sees a village alive with joyous celebrations suddenly come under siege. In the chaos, three siblings - Leto, Mati and Tana - are separated from their parents. They undertake a perilous journey to new lands and set out on their own extraordinary adventures. Songs include Every Breath You Take, Roxanne, Every Little Thing She Does Is Magic, Walking On The Moon, Englishman In New York, Shape Of My Heart and Fields Of Gold.

The soundtrack to Message In A Bottle also features new vocals by Sting and new arrangements by Grammy and Tony award winner Alex Lacamoire (Hamilton, The Greatest Showman), with guest vocals from award-winning actress and singer Beverley Knight MBE and Lynval Golding (The Specials).

About Kate Prince MBE

Director and Choreographer

Kate Prince is a director, writer and choreographer. She is also the Artistic Director of ZooNation: The Kate Prince Company which she founded in 2002. Kate is an Associate Artist at both The Old Vic and Sadler's Wells, where ZooNation: The Kate Prince Company is also a Resident Company.

In 2005 Sadler's Wells commissioned the company's first full-length work, Into the Hoods, conceived and directed by Kate. The show's premiere in 2006 met with widespread critical acclaim and Into the Hoods went on to become the first hip hop dance show to transfer to the West End in 2008, after two critically successful runs at the Edinburgh Fringe.

Kate's further work with ZooNation includes the Olivier-nominated Some Like It Hip Hop (The Peacock, 2011- 13, 2019 and two UK tours), Groove on Down the Road (Southbank Centre, 2013-14), ZooNation: Unplugged (Sadler's Wells, 2013), The Mad Hatter's Tea Party (Royal Opera House, Linbury Studio, 2014 and Roundhouse, 2016), Into the Hoods: Remixed (The Peacock, 2015-16 and UK tour), and SYLVIA (The Old Vic, 2018). The company created special performances for Nelson Mandela's 90th birthday celebrations and for the Laurence Olivier Awards in 2011, creating new choreography for West Side Story with the BBC Symphony Orchestra.

For TV, Kate's credits include work for Strictly Come Dancing, So You Think You Can Dance, The Royal Variety Show, Top of the Pops, Ant & Dec's Saturday Night Take Away, CD:UK, Blue Peter, Strictly Dance Fever, Sport Relief, The Album Chart Show, Discomania and PopWorld. Her film work includes choreography for Everybody's Talking About Jamie, StreetDance 3D and The Holloway Laundrette, which she wrote & directed for BAFTA/Channel 4.

Other theatre work includes Everybody's Talking About Jamie for Jonathan Butterell (Sheffield Crucible & West End, nominated for Olivier Award for Best Theatre Choreographer), Enda Walsh's Ballyturk (National Theatre), Stephen Mear's Shoes (Sadler's Wells and The Peacock), I Can't Sing: The X-Factor Musical (London Palladium) and A Mad World My Masters (Royal Shakespeare Company), both for Sean Foley.

With ZooNation she has also created choreography for sporting events, including the Beijing Olympic and Paralympic Handover Ceremonies (2008), the Opening Ceremony of the Tour de France (2007) and the IOC opening ceremony for the London 2012 Olympics at the Royal Opera House. In 2018, ZooNation: The Kate Prince Company became an Arts Council National Portfolio Organisation and a registered charity, in recognition of its mission to inspire the next generation of theatregoers and theatremakers. In 2020, Kate was the subject of the BBC Imagine Documentary series presented by Alan Yentob entitled Kate Prince: Every Move She Makes.

Kate has been nominated for five Olivier Awards, a South Bank Sky Arts Award, a WhatsOnStage Award and two Critics' Circle National Dance Awards. Kate has an Honorary Doctorate from the University of Winchester and in 2019 Kate received an MBE for services to dance.

Most recently Kate co-wrote, directed and choreographed SYLVIA at the Old Vic, for which she was nominated for the Gillian Lynne Olivier Award for best theatre choreographer.

Kate's proudest achievement is being Leo's wife and Ella's mum.

About Sting

Music and Lyrics

Composer, singer-songwriter, actor, author, and activist Sting was born in Newcastle, England before moving to London in 1977 to form The Police with Stewart Copeland and Andy Summers. The band released five studio albums, earned six GRAMMY Awards® and two Brits, and was inducted into The Rock and Roll Hall of Fame in 2003.

One of the world's most distinctive solo artists, Sting has received an additional 11 GRAMMY Awards®, two Brits, a Golden Globe, an Emmy, four Oscar nominations, a TONY nomination and has sold 100 million albums from his combined work with The Police and as a solo artist. He is a member of the Songwriters Hall of Fame and has received the Kennedy Center Honors, as well as honorary Doctorate of Music degrees from Northumbria University (1992), Berklee College of Music (1994), University of Newcastle upon Tyne (2006) and Brown University (2018).

Sting, managed by Martin Kierszenbaum/Cherrytree Music Company, has appeared in more than 15 films, a variety of TV shows and authored two books, including The New York Times best-selling memoir, Broken Music. In 1989 he starred in The Threepenny Opera on Broadway.  His most recent theatre project is the Tony®-nominated musical The Last Ship, inspired by his memories of the shipbuilding community of Wallsend in the northeast of England where he was born and raised.

In 2019, an album entitled My Songs, featuring contemporary interpretations of his most celebrated hits, was released, and followed by a world tour and acclaimed Las Vegas residency of the same name. Sting's latest album, The Bridge, showcases his prolific and diverse songwriting prowess, representing various stages and styles from throughout his unrivaled career. Most recently, Sting produced Shaggy's album, Com Fly Wid Mi which finds the reggae icon performing the Sinatra songbook in a reggae style and earned a Grammy Award nomination for it.

Earlier this year, Sting became a Fellow of the Ivors Academy – the highest honor reserved for those who have reshaped and redefined the art and craft of music creation, while his hit song, "Every Breath You Take" was added to Spotify's 'Billions Club,' having amassed over 1 billion streams on the platform with the correlating music video surpassing 1 billion streams on YouTube. His critically acclaimed My Songs world tour is currently underway and finds the 17-time Grammy Award winning artist performing his most beloved songs with an electric rock ensemble. Full tour itinerary can be found here.

Sting's support for human rights organizations such as Amnesty International, and Live Aid mirrors his art in its universal outreach.  Along with wife Trudie Styler, Sting founded the Rainforest Fund in 1989 to protect both the world's rainforests and the indigenous people living there. Together they have held 19 benefit concerts to raise funds and awareness for our planet's endangered resources. Since its inception, the Rainforest Fund has expanded to a network of interconnected organizations working in more than 20 countries over three continents.

For the latest news, official fan club access and more, please visit: www.sting.com

About Sadler's Wells

Sadler's Wells is a world-leading dance organisation. We strive to make and share dance that inspires us all. Our acclaimed year-round programme spans dance of every kind, from contemporary to flamenco, Bollywood to ballet, salsa to street dance and tango to tap. 

We commission, produce and present more dance than any other organisation in the world. Since 2005, we have helped to bring more than 200 new dance works to the stage, embracing both the popular and the unknown. Our acclaimed productions tour the world. Since 2005 we've produced 64 new full-length works and performed to audiences of more than two million, touring to 51 countries. 

Each year, over half a million people visit our three London theatres - Sadler's Wells Theatre, Lilian Baylis Studio and Peacock Theatre. Millions more attend our touring productions nationally and internationally or explore our digital platforms, including Sadler's Wells Digital Stage.  

Sadler's Wells East  

In 2024 we're opening a fourth London venue in Stratford's Queen Elizabeth Olympic Park. Sadler's Wells East will house a 550-seat mid-scale theatre, as well as facilities for the new Rose Choreographic School and the hip hop theatre training centre, Academy Breakin' Convention.  

Sadler's Wells East joins the rich cultural heritage of Stratford, opening in London's Queen Elizabeth Olympic Park as part of the East Bank development alongside the BBC, UAL's London College of Fashion, UCL and the V&A. Sadler's Wells East will support artist development and training, and the creation of new work. It will build the infrastructure for dance and make it accessible to more people. Sadler's Wells East will house a flexible theatre presenting a wide variety of dance performances. Community will be at the heart of Sadler's Wells East with a large open foyer that can be used by everyone as a meeting or performance space. There will also be dance studios and world-class dance facilities for dancemakers to train, create and rehearse productions. 

Supporting artists 

Supporting artists is at the heart of our work. We have associate artists and companies, which nurture some of the most exciting talent working in dance today. We host the National Youth Dance Company, which draws together some of the brightest young dancers from across the country. Sadler's Wells Breakin' Convention runs professional development programmes to champion and develop the world's best hip hop artists, as well as producing, programming and touring groundbreaking hip hop performances. 

Learning and community links 

Around 30,000 people take part in our learning and engagement programmes every year. We support schools local to our theatres in Islington and Stratford, designing experiences for children and young people to watch, explore and critically engage with the arts. We also run Company of Elders, a resident performance company of dancers aged over 60 who rehearse with renowned artists to make new work for public performances locally, nationally and internationally. 

Sadler's Wells is an Arts Council England National Portfolio Organisation. 

www.sadlerswells.com 

Stay up to date with everything Sadler's Wells on social media 

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Twitter: @Sadlers_Wells 

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YouTube: Sadler's Wells Theatre 

About Broadway In Chicago

Broadway In Chicago was created in July 2000 and over the past 24 years has grown to be one of the largest commercial touring homes in the country. A Nederlander Presentation, Broadway In Chicago lights up the Chicago Theater District entertaining up to 1.7 million people annually in five theatres. Broadway In Chicago presents a full range of entertainment, including musicals and plays, on the stages of five of the finest theatres in Chicago's Loop including the Cadillac Palace Theatre, CIBC Theatre, James M. Nederlander Theatre, and just off the Magnificent Mile, the Broadway Playhouse at Water Tower Place and presenting Broadway shows at the Auditorium Theatre.

For more information, visit www.BroadwayInChicago.com

Follow @BroadwayInChicago

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Direct from Broadway, A BEAUTIFUL NOISE, THE NEIL DIAMOND MUSICAL will make its Chicago debut, November 12 – 24, 2024, at Broadway In Chicago's Cadillac Palace Theatre as part of multi-year North American Tour. 

TICKET INFORMATION

Groups of 10+ are now on sale by calling (312) 977-1710 or by emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. A BEAUTIFUL NOISE will be part of the next Broadway In Chicago subscription. Current subscribers can renewal beginning on Monday, February 26, and the season will be available to new subscribers on Wednesday, March 20. Single tickets will be on sale at a later date. Ticket prices range from $40 - $135 with a select number of premium tickets available. For more details, visit BroadwayInChicago.com.

"Some of my most thrilling nights have been while I was on tour, bringing my music to audiences across the world," said Neil Diamond. "Having A BEAUTIFUL NOISE go on tour is an honor and I can't wait for audiences across North America to experience this show. I hope they enjoy it as much as I have."

The tour will be lead produced by Ken Davenport, Bob Gaudio and NETworks Presentations.

Producer Ken Davenport said, "Neil is one of the best live entertainers the world has ever seen. In his fifty-year career, he's performed for millions of fans around the globe. I couldn't imagine a more perfect way to honor his legacy than having A BEAUTIFUL NOISE touring North America, visiting the same cities where he gave so many people so much joy."

Producer Bob Gaudio said, "When Neil and I first started talking about making a musical using his music, I knew how daunting that would be. With Jersey Boys, I learned how vital it is to have a first-rate creative team making sure everything weaves together. We have that on A BEAUTIFUL NOISE—an incisive book that tells Neil's story honestly, fantastic choreography, one of the best directors on Broadway guiding the entire production, and of course, Neil's iconic songs. Having the show go on tour is an exciting next step."

The Broadway production continues to play for cheering audiences nightly at the Broadhurst Theatre in New York City.

A full tour route and casting will be announced at a later date. Please visit abeautifulnoisethemusical.com to sign up for the email newsletter and be among the first to receive tour news and updates.

"SO GOOD, SO GOOD, SO GOOD!"

CBS, CNN, GMA, Entertainment Weekly, Morning Joe

"DAZZLING! WE SAW HIS SHOW, NOW WE'RE A BELIEVER"

WBUR

"THE BIOGRAPHICAL DRAMA IS A HEARTWARMING CELEBRATION OF MR. DIAMOND'S UPLIFTING MUSIC AND INSPIRATIONAL LIFE."

THE WASHINGTON TIMES

ABOUT A BEAUTIFUL NOISE, THE NEIL DIAMOND MUSICAL

This is the story of that Brooklyn kid who made it big and took us all along for the ride. From those exhilarating early days in New York to the sold-out spectacles that defined his career, A BEAUTIFUL NOISE, THE NEIL DIAMOND MUSICAL explores the life of a rock icon through the music that made him "a national treasure" (Los Angeles Times).

The story of the legendary Neil Diamond comes to life on stage in an uplifting new Broadway musical, A BEAUTIFUL NOISE, featuring all his hit songs including "Sweet Caroline," "America," and "Cracklin' Rosie."

The grandson of Jewish and Polish immigrants, Brooklyn born and raised, Neil Diamond was a New York kid down to his boots, strumming his guitar on the steps of Erasmus High School on Flatbush Avenue. 1960s America was hungry for change and so was he. He landed a gig selling songs for fifty bucks a week in the legendary Tin Pan Alley's Brill Building. At night he honed his voice on stage at the Village's Bitter End, but knew he was destined for something greater. This was New York, after all. City of dreams. Full of life and opportunity where anyone could write their story. And so he did, in song after song.

10 Top 10 Hits. 140 million albums sold. His 1972 concert and live album Hot August Night sung in front of 5,000 screaming fans catapulted him to fame as the ultimate entertainer. He sang his way to a Grammy Award, into the Rock and Roll and Songwriters Halls of Fame, then topped it off with a Lifetime Achievement Grammy and the Kennedy Center Honors.

Directed by Tony Award® winner Michael Mayer (Spring Awakening, Hedwig and the Angry Inch), choreographed by Olivier Award winner Steven Hoggett (Once, Harry Potter and the Cursed Child), and written by four-time Academy Award nominee Anthony McCarten (Bohemian Rhapsody, The Two Popes), A BEAUTIFUL NOISE is a thrilling look at an artist's search for himself and a celebration of the enduring power of his music.

The design team for A BEAUTIFUL NOISE on Broadway features Tony Award winner David Rockwell (scenic design), Tony Award nominee Emilio Sosa (costume design), four-time Tony Award winner Kevin Adams (lighting design), Tony Award winner Jessica Paz (sound design), Jamie Harrison (Illusion consultant), and Luc Verschueren (hair and wig design). The production has music supervision and arrangements by Sonny Paladino, incidental music and dance music arrangements by Brian Usifer, vocal design by AnnMarie Milazzo, and orchestrations by Bob Gaudio, Sonny Paladino, and Brian Usifer. Casting is by Jim Carnahan, CSA & Jason Thinger, CSA. The A BEAUTIFUL NOISE tour will be directed by Austin Regan and choreographed by Yasmine Lee. The stage management team is led by production stage manager Stacy N. Taylor. The company management team is led by Erik Birkeland.

A BEAUTIFUL NOISE, THE NEIL DIAMOND MUSICAL is produced on Broadway by Ken Davenport, Bob Gaudio, Sandi Moran, Hunter Arnold, Scott Abrams, Marco Santarelli, Jonathan and Rae Corr, Marguerite Steed Hoffman, Ron Kastner, Rob Kolson, Valli Family Group, Caiola Productions, Paul Dainty AM, Gaudio Family Group, Joseph J. Grano Jr., Starlight Theatre, Roy Putrino, James L. Nederlander, Tricia Blake, Mark E. Jacobs, Universal Music Group Theatrical, Deborah Green, Patty Baker, Sheri and Les Biller, H. Richard Hopper, Sharon Karmazin, NETworks Presentations, Adam Riemer, Matthew Salloway, BB Investments LLC, Universal Theatrical Group, Witz End Productions, Theatre Producers of Color, and Ryan Conway.

The Original Broadway Cast Recording of A BEAUTIFUL NOISE, THE NEIL DIAMOND MUSICAL, produced by Bob Gaudio and released by UMe, is available now as a CD and to stream on all major platforms. To order the album or stream it, please visit www.abeautifulnoise.lnk.to/originalcastalbumpr

Follow the show online: abeautifulnoisethemusical.com

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ABOUT BROADWAY IN CHICAGO

Broadway In Chicago was created in July 2000 and over the past 24 years has grown to be one of the largest commercial touring homes in the country. A Nederlander Presentation, Broadway In Chicago lights up the Chicago Theater District entertaining up to 1.7 million people annually in five theatres. Broadway In Chicago presents a full range of entertainment, including musicals and plays, on the stages of five of the finest theatres in Chicago's Loop including the Cadillac Palace Theatre, CIBC Theatre, James M. Nederlander Theatre, and just off the Magnificent Mile, the Broadway Playhouse at Water Tower Place and presenting Broadway shows at the Auditorium Theatre.

For more information, visit www.BroadwayInChicago.com.

Follow @broadwayinchicago on Facebook, Instagram, and TikTok #broadwayinchicago

Tickets for the Chicago world premiere of DEATH BECOMES HER go on sale tomorrow and will run for a limited five-week engagement, April 30 – June 2, 2024, at Broadway In Chicago's Cadillac Palace Theatre (151 West Randolph Street, Chicago, IL). Ticket prices will range from $33.00 to $113.00 with a select number of premium seats available. The performance schedule and additional ticket information are below.

The Pre-Broadway World Premiere of DEATH BECOMES HER starring Tony Award nominees Megan Hilty (Wicked, Smash) as "Madeline Ashton" and Jennifer Simard (Company, Disaster), as "Helen Sharp", based on the classic 1992 film, is a drop-dead hilarious new musical comedy about friendship, love, and burying the hatchet...again, and again, and again.

Madeline Ashton is the most beautiful actress (just ask her) ever to grace the stage and screen. Helen Sharp is the long-suffering author (just ask her) who lives in her shadow. They have always been the best of frenemies... until Madeline steals Helen's fiancé away. As Helen plots revenge and Madeline clings to her rapidly fading star, their world is suddenly turned upside down by Viola Van Horn, a mysterious woman with a secret that's to die for. After one sip of Viola's magical potion, Madeline and Helen begin a new era of life (and death) with their youth and beauty restored... and a grudge to last eternity.

DEATH BECOMES HER features an original score by Noel Carey and Julia Mattison, a book by Marco Pennette, and music supervision by Mary-Mitchell Campbell. DEATH BECOMES HER will be directed and choreographed by Tony Award winner Christopher Gattelli.

The design team for DEATH BECOMES HER includes Derek McLane (Sets), Paul Tazewell (Costumes), Justin Townsend (Lights), Peter Hylenski (Sound), Rob Lake (Illusions), Charles LaPointe (Hair & Wigs), Joe Dulude II (Makeup), Ben Cohn (Music Director), and Tara Rubin Casting (Casting).

Additional casting will be announced at a later date.

DEATH BECOMES HER is produced by Universal Theatrical Group (UTG), overseen by Jimmy Horowitz (Chairman of Business Affairs and Operations, NBCUniversal), and led by Chris Herzberger (Senior Vice President, Universal Theatrical Group). UTG's Vice President of Creative Development and Production, Lowe Cunningham, oversees on behalf of UTG.

DEATH BECOMES HER is based on the Universal Pictures film, directed by Robert Zemeckis, written by David Koepp and Martin Donovan. For more information visit: DeathBecomesHer.com.

TICKET INFORMATION

Individual tickets for DEATH BECOMES HER will go on sale tomorrow and range in price from $33.00 to $113.00 with a select number of premium seats available. Individual tickets are available by visiting www.BroadwayInChicago.com or going to any Broadway In Chicago venue box office. Tickets are also available for groups of 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. 

PERFORMANCE SCHEDULE

Tuesday and Wednesday performances are at 7:30 pm with Wednesday matinees at 2:00 pm on May 15, 22 & 29; Thursday, Friday, & Saturday performances are at 7:30 pm with Saturday matinees 2:00 pm on May 11, 18, 25 & 6/1; Sunday performances are at 2:00 pm and 7:00 pm on May 5 & May 12; 5:00 pm on May 19; 2:00 pm on May 26; and 2 pm on June 2. For more information visit BroadwayInChicago.com.

ABOUT UNIVERSAL THEATRICAL GROUP

Universal Theatrical Group (UTG) is the live theater division of the world-famous motion picture studio. UTG, which oversees both Universal Stage Productions and DreamWorks Theatricals, is currently represented by the record-breaking musical phenomenon Wicked, soon celebrating its 20th smash-hit year on Broadway. Wicked has been seen by over 60 million people worldwide, making it one of the most successful theatrical ventures of all time. In 2008, Universal's musical adaptation of Billy Elliot opened on Broadway and went on to win ten Tony Awards including Best Musical. Universal also produced the Tony-nominated Broadway productions of Bring It On: The Musical and Irving Berlin's Holiday Inn with Roundabout Theatre Company. DreamWorks Theatricals, which became part of UTG in 2016, was formed to develop live entertainment inspired by the studio's acclaimed library of animated films, including the Tony-winning musical adaptation of Shrek and the West End production of The Prince of Egypt. 

ABOUT BROADWAY IN CHICAGO

Broadway In Chicago was created in July 2000 and over the past 24 years has grown to be one of the largest commercial touring homes in the country. A Nederlander Presentation, Broadway In Chicago lights up the Chicago Theater District entertaining up to 1.7 million people annually in five theatres. Broadway In Chicago presents a full range of entertainment, including musicals and plays, on the stages of five of the finest theatres in Chicago's Loop, including the Cadillac Palace Theatre, CIBC Theatre, James M. Nederlander Theatre, Auditorium Theatre, and just off the Magnificent Mile, the Broadway Playhouse at Water Tower Place.

For more information and tickets, visit www.BroadwayInChicago.com.

Facebook @BroadwayInChicago ● Instagram @broadwayinchicago ● TikTok @broadwayinchicago  #broadwayinchicago

Disney Theatrical Group, under the direction of Andrew Flatt, Anne Quart and Thomas Schumacher, announced today that a newly-reimagined North American tour of Beauty and the Beast will officially open at Broadway In Chicago's Cadillac Palace Theatre in July 2025.

Tickets are now available for groups of 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. The show will be a part of the 2024 Fall Sale Season. Individual tickets will go on sale at a later date.

"We've heard from audiences for three decades now that Beauty and the Beast has touched them in a profound way - these characters, songs and this sweeping story," said Thomas Schumacher, Chief Creative Officer, Disney Theatrical Group. "How proud we are, then, to bring this refreshed and human take on the show – with the scale and spectacle the title deserves - to longtime fans and an entirely new generation. This Beauty is for them."

Based on the Academy Award®-winning feature film, Beauty and the Beast is one of the most beloved stage musicals of the last half-century.  The Tony Award®-winning Broadway production ran for 13 years (1994 - 2007) and remains one of the Top 10 longest-running Broadway shows. Worldwide, there have been productions in 37 countries, seen by more than 25 million people and translated into 17 different languages.

The new tour will hold technical rehearsals and launch in Schenectady, NY at Proctors in June 2025, prior to the official opening in Chicago, IL at the Cadillac Palace Theatre in July, followed by a stop in Minneapolis, MN at the Orpheum Theatre in August. Casting and the anticipated two-year tour route will be announced at a later date.

Reuniting to create this new production are members of the original Tony Award®-winning artistic team, including composer Alan Menken (who wrote the film's beloved score with the late lyricist Howard Ashman), lyricist Tim Rice, book writer Linda Woolverton, with direction and choreography by Matt West, scenic design by Stanley A. Meyer, costume design by Ann Hould-Ward and lighting design by Natasha Katz.

"We are thrilled to have once again gathered this world-class creative team on Beauty and the Beast, under the masterful direction of original team member Matt West. Together they created a beloved show in 1994, and today they're telling that story with all the charm and romance of the original production, and newly resonant for today's audiences. It's a pleasure to be back in the room with this peerless team as they re-discover and expand Beauty and the Beast," shared Executive Producer Anne Quart.

Critics have raved about the show throughout its history, from its 1994 Broadway premiere through the recent smash U.K. and Australian productions of the newly-reimagined version:

"The astonishments rarely cease! Its lavishness is delirious."

- The New York Times

★★★★ "A tale as old as time, but as exhilarating as ever!"

– London Evening Standard

 "A spectacular stage extravaganza!"

 – New York Post

★★★★ "Visual magic...Witty, exuberant with breathtaking choreography."

– Sydney Morning Herald

"You will have the time of your life! All the great songs and great moments are here."

– Good Morning America

★★★★ "Joyously entertaining!"

– London Sunday Express

"The most lavish, opulent, eye-popping show ever!"

- New York Daily News

★★★★★ "Full Broadway spectacle."

– London Daily Mail

★★★★★

- Sydney Arts Guide

About Disney's Beauty & the Beast

Based on the 1991 Academy-Award winning animated feature film, Disney's Beauty and the Beast premiered on Broadway in 1994 where it was nominated for nine Tony® Awards, winning for Best Costume Design, and ran for 13 years.  It still ranks as one of the longest-running and highest-grossing Broadway shows of all time. Since its debut, the title's visibility and success has expanded globally with subsequent productions produced around the world.

The structure and tone of the story and score – as conceived for the 1991 film by its executive producer and lyricist Howard Ashman with a continued evolution for the Broadway adaptation three years later – made Disney history. Only once before – in Menken and Ashman's previous film musical The Little Mermaid – had a Disney film been structured like a stage musical where the songs are integral to plot and characterization. This Menken/Ashman innovation is credited with the 1990's Disney animation renaissance that went on to create such film classics as Aladdin, The Lion King and Hunchback of Notre Dame and helped re-introduce the book musical form to popular culture.

Disney's Beauty and the Beast, directed & choreographed by Matt West, features Alan Menken's Academy Award®-winning score, songs by Alan Menken and the late Howard Ashman (including the Academy Award®-winning title song and the show-stopping "Be Our Guest"), plus songs written especially for the stage by Alan Menken and Tim Rice (including "If I Can't Love Her" and "A Change In Me").   The production features a book by Linda Woolverton, author of the original screenplay.  Sets are by Stanley A. Meyer, costumes by Ann Hould-Ward (Tony Award® winner for Beauty and the Beast) and lighting by Natasha Katz.

New dance music arrangements are by David Chase.  Longtime Menken collaborators Michael Kosarin and Danny Troob are music supervisor/arranger and orchestrator, respectively.

Completing the design team, John Shivers is sound designer, Darrel Maloney is projection & video designer, and David H. Lawrence is hair & make-up designer. Jim Steinmeyer is the illusion designer, as he was on the original 1994 production. Jason Trubitt is the production supervisor and Myriah Bash is the general manager. Anne Quart serves as executive producer.

Previous Disney-produced North American Tours of Beauty and the Beast played for almost eight years from November 1995 through August 2003, for a combined total of 2,893 performances to more than 5.7 million audience members.

For more information, visit beautyandthebeastthemusical.com, Instagram and Facebook.

About Broadway In Chicago

Broadway In Chicago was created in July 2000 and over the past 24 years has grown to be one of the largest commercial touring homes in the country. A Nederlander Presentation, Broadway In Chicago lights up the Chicago Theater District entertaining up to 1.7 million people annually in five theatres. Broadway In Chicago presents a full range of entertainment, including musicals and plays, on the stages of five of the finest theatres in Chicago's Loop including the Cadillac Palace Theatre, CIBC Theatre, James M. Nederlander Theatre, and just off the Magnificent Mile, the Broadway Playhouse at Water Tower Place and presenting Broadway shows at the Auditorium Theatre.  For more information, visit www.BroadwayInChicago.com

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“The Wiz”, a retelling of the classic, L. Frank Baum’s The Wonderful Wizard of Oz was the perfect show for its time when it opened on Broadway in 1975. Despite a closing notice posted on its opening night, it went on to win seven Tony Awards including Best Musical. This was in large part due to the tenacity of its 32-year-old African American producer (more on him later).  It made household names of its stars, Stephanie Mills as Dorothy, Hinton Battle replacing Comedian Stu Gilliam as the Scarecrow, Ted Ross as the cowardly lion and André De Shields as The Wizard. Written by William F. Brown with music and lyrics by Charlie Smalls, the show’s message of self-reliance and determination coupled with hope and empowerment was a powerful antidote to the cynicism and despair in America. The collaboration between Brown, Smalls and choreographer George Faison created an honest, heartwarmingly innocent production full of humor, excitement and most of all, heart.

Well, “The Wiz” has grown up and with it comes some growing pains.

I admire Amber Ruffin. She was a smart comedian on “The Daily Show” and a skilled comedy writer. She did an excellent job with “Some Like It Hot”.  The Wiz creates different challenges. I can understand a backstory in song, but the additional dialogue seemed to weight this production down. The pace was completely off in the first act.  I didn’t find the backstory of the Scarecrow, Tin Man or Lion very interesting or necessary.  As a child I felt the trio were characters Dorothy met along the way to the Emerald City nothing more. As I got older, I realized these characters could be seen as symbolic representations of different aspects of Dorothy’s personality. If additional material was needed I would have much rather Ruffin look forward than backwards. If these characters needed more story, I want to know where they are going, not where they’ve been. I would have liked the Wizard to be clearer in his explanation of why he was leaving OZ, seems kind of crude on his part.

There is a wealth of talent in this cast. Chicago’s own Melody A. Betts shines in the dual role of Aunt Em/Evillene. Deborah Cox as Glinda the Good Witch was another standout. I would suggest the ladies in this cast find the emotional depth rather than relying on vocal acrobatics. Runs and riffs convey vocal ability, which we know this cast has, it does not convey emotion.

I loved Nichelle Lewis as Dorothy. I’m sure with time she will understand the emotional journey Dorothy is on and her moments will come organically. Lewis has quite the voice. If Lewis learns to trust the music and lyrics, they can inform her emotional state. There were a few times, Lewis was ahead or behind the music because of her insistence on showing her musical range. Some of her vocal runs were self-serving and it took away from the emotional intensity. Sometimes it’s more powerful to whisper.

Avery Wilson has a sweet voice as The Scarecrow. I would have loved to hear him sing “I Was Born on The Day Before Yesterday” It would have given more depth to his character and I’m sure he would have risen to the task. The powers that be opted for the safe and popular “You Can’t Win”. (from the movie).

I would have loved to see more “mean” in Kyle Ramar Freeman’s lion, but his voice made up for any shortcomings. He was bold and entertaining if a bit corny, but I’ll allow it.

Phillip Johnson Richardson brought joy with his every move. It’s interesting, the character searching for a heart gave the most heartfelt performance of the evening. His “What Would I Do If I Could Feel” was a touching lament.

The costumes for this show are top-notch, although for the life of me, I don’t understand what Costume Designer Sharen Davis was going for with the Lion’s costume. Someone in the audience yelled as Glinda was exiting the stage …. “It’s the dress for me!” It was also the hair, wigs and make-up, excellent job.

The visuals did not stop there. The set, with projections by Daniel Brodie, scenic design by Hannah Beachler and lights by Ryan J. O’Gara brought this world, whether in black and white Kansas, A New Orleans style street celebration or an Afro-Centric Emerald City made to be dismantled, to life. No detail was too small. Grand set pieces moved with ease and precision. This is a big production.

As I’ve said before, this is a talented group. I was slightly underwhelmed by the tornado scene. It seemed very tame. Well done, but tame. The choreography by Jaquel Knight, a relative newcomer to the Broadway stage had some truly exciting elements to it and I see his influence growing.

This production will find the sweet spot between old and new. It will find the proper pacing and it will have an extended run in New York. How do I know? It’s gonna be a new show when it leaves Chicago.

Ease on down and see The Wiz!

Post Note:

This show has more than 50 producers, which brings me back to the 32-year-old sole producer of “The Wiz” circa 1974, In 1971, Kenneth Harper was an ex - disc jockey at WPIX radio in New York City. He came up with a concept to take the Frank L. Baum Book “The Wonderful Wizard of OZ” which then became a movie starring Judy Garland and turn it into a Top 40’s style Black musical comedy.  He noticed in the top ten songs on Billboard or Cashbox, at least 5 of them were by black artist. The Motown sound was marketable, and it was selling to Blacks as well as Whites. Kenneth Harper commissioned William F. Brown (a white guy) to adapt the “The Wonderful Wizard of Oz” for an African American cast and Charlie Smalls to write the music. For the next three years Kenneth Harper shopped this concept to anyone who would listen. He finally found a buyer in 20^th Century Fox. In exchange for the all the rights of the production (film, publishing, album) they gave Kenneth Harper $650K with a 20% overcall (which he would need) After a tryout in Baltimore, “The Wiz” opened on Broadway to horrible reviews. Instead of calling it quits, Kenneth Harper did something extremely rare for the time. He used the 20% overcall and brought radio and television ads. It was not standard practice for Broadway shows to advertise on radio and TV. In New York City you couldn’t listen to the radio without hearing an ad for “The Wiz”, same with television. A week later The Wiz was selling out. They won 7 Tony awards, and the rest is history.

Kenneth Harper died January 22, 1988, at the age of 48.

It breaks my heart to imagine what could have been.

I’m donating in Kenneth Harper’s name to Broadway Cares/Equity fights AIDS                                            

I don’t want his memory lost; quasars come along so very rarely.

If you’d like to donate the link is below

https://donate.broadwaycares.org/give/140654/#!/donation/checkout

When: Through Dec. 10

Where: Cadillac Palace Theatre, 151 W. Randolph St.

Running time: 2 hours 30 minutes

Tickets: $55-$195 at 800-775-2000 and www.broadwayinchicago.com

Phone rings, door chimes, in comes Company! The new, gender-swapped revival, that is.

Known more for his fully scored, more epic musicals like Sweeney Todd and Into the Woods, Stephen Sondheim packs a big punch in this unconventional little musical about the dichotomy between single and married life — and it’s as fresh and funny in the 2020s as it was when it premiered in 1970.

Company is hilarious and moving in equal measure. It’s human and messy, yet gloriously refined through Sondheim’s music, lyrics, and storytelling.

Arguably the first musical surrounding a concept instead of a plot, Company opens a Pandora’s box exploring all the trade-offs between being married and being single. The songs and scenes detail the pros and cons of both marriage and bachelorhood, with everything tied together and grounded through the character of Bobbi — played with charisma and vulernability by Britney Coleman — the lone bachelorette in a sea of partnered-up friends, who’s about to turn 35 and is still waffling over what she wants out of life.

The North American Tour of COMPANY. Photo by Matthew Murphy for MurphyMade

In the 1970 version, Bobby is a bachelor. In this gender-swapped revival, which premiered in London’s West End in 2018 and on Broadway in 2021, Bobbi is a bachelorette. Both versions are entertaining, enlightening, and have insightful things to say about love. While the 1970 version was, undoubtedly, ahead of its time, the revival brings a modern touch — and a slight Alice in Wonderland flair — that connects the characters to today’s audiences.

The topic of, or should I say battle between, singledom versus settling down is endlessly mineable. Bobbi likes being single because it’s carefree. But after spending time with her married friends, she wonders if she’s missing out on something. Then again, after seeing her friends’ seemingly happy relationships hit rough patches, Bobbi appreciates again the merits of being single.

There’s a song at the top of the show called “Sorry/Grateful”, sung by Bobbi's married friend Harry, explaining how he views marriage. “You’re always sorry / You’re always grateful / You’re always wondering what might have been / Then she walks in”. It’s a wistful, reflective number that speaks to the dissatisfaction we’re apt to feel no matter what side of the fence we’re on.

Derrick Davis as Larry, Judy McLane as Joanne and Britney Coleman as Bobbie in the North American Tour of COMPANY. Photo by Matthew Murphy for MurphyMade

The ensemble is strong in this production. The characters of Bobbi’s married friends carry the show as much as Bobbi does. Their conversations and quips about relationships show the true, full, colorful spectrum of married life. The scenes of Bobbi chatting with her friends feel like one-act plays (and, in fact, they kind of are; Sondheim took one-act plays by playwright George Furth and partnered with him to create Company) and show the upsides, downsides, and ridiculous sides to partnering up with someone for life.

Some of the better-known songs include the frantic “Getting Married Today”, sung at breakneck speed by the hilarious Matt Rodin, while experiencing cold feet before his wedding; the instantly recognizable “Ladies Who Lunch”, the 11 o’clock number made famous by Elaine Stritch in the original Broadway production and sung with conviction by the fabulous Judy McLane on this tour; “Another Hundred People”, which serves as a love letter to the chaos of social life in New York City; and “Being Alive”, where everything Bobbi has learned throughout the musical is elegantly summarized.

Don't miss this clever, unique, and truly funny production of one of Sondheim's best.

Company is playing at the Cadillac Palace Theatre at 151 W Randolph St. through November 12, 2023. Tickets at the box office or at BroadwayinChicago.com.

We all know him—the Jazz King—the legend who single-handedly transformed music with a trumpet, gravelly voice, and his big dazzling smile. Louis Armstrong is the man who made us and still makes us desire a Wonderful World. As soon as I heard of the new Broadway-bound musical, "A Wonderful World," would have a short (through October 29) pre-Broadway run at the Cadillac Palace Theatre, I canceled my original plans and jumped in a cab to Randolph Street.

There, as the blue clouds fade and the curtains part, you meet Louis Armstrong’s four wives who sing and dance as they tell you about their old Satchmo. The play quickly transitions you into Louis Armstrong’s humble beginnings in the South. You travel back in time to the early 1900s in a poor neighborhood in New Orleans, Louisiana. Armstrong sees his Jewish adoptive father, Mr. Karnofsky, with a cart full of miscellaneous items, and among them is an old trumpet. Louis begins to play and blows Karnofsky away. The show then takes you on his journey as he rises to his title as the “Jazz King.”

Before you know it, you’re whisked away into the prohibition era of the roaring 1920s in the Red Light District called “Storyville” in the heart of New Orleans. The Land of Sin is introduced to you by Armstrong’s first wife, Daisy Parker, who shows you the world of sex, booze, and jazz through dancing and singing. The costumes blew me away with glittery flapper dresses, pinstriped waistcoats, and flat caps.

You learn how Armstrong began his music career in a band called Fate Marable touring on a steamboat in the Mississippi River. At first, Armstrong’s voice was soft and not the voice we all know. This left me to wonder if they cast the wrong actor for the part. Then I quickly was surprised by a dramatic voice change and came to learn that Armstrong’s voice was damaged by his first jazz tour on the Sidney steamboat. The actor’s voice transition was remarkable. He nailed Louis’ warm raspy voice as if it was second nature to him.

The musical carries on as you watch Armstrong shuffle his way through four different wives, multiple skeezy managers, endless tours, and the challenges of racial inequality as a black man in the United States. The show takes you all over the map from New Orleans, Chicago, Los Angeles, and Queens, New York, with set designs embracing all parts of the United States.

Louis’ life story gets you tangled with mobsters, behind bars in jail, and in music clubs as he plays and sings jazz music. The show captivates you as you reach a critical point in history when the Little Rock Crisis unfolds and Armstrong watches African American children be verbally and physically abused by white Americans for attending desegregated schools.

In response to the chaos, the show breaks your heart with a solemn performance of Louis singing the famous Fats Waller song, “Black and Blue.” Louis Armstrong grows angry and finds himself in a difficult place that could potentially end his career as racial tensions rise. Leaving you to wonder how he will make it through as he balances his passion for jazz and his demand for justice.

Cadillac Palace Theatre is the perfect location for this musical. The theatre opened in Chicago in 1926, just four years after Louis Armstrong moved to Chicago to play jazz music with Joe “King” Oliver. The lobby of the theatre is very rich looking with large gold mirrors and white marble. Every seat was filled in the 2,300-seated auditorium.

The stage accommodates a multi-level set with a spiral staircase and decorative wrought iron railings adorning the stairs and balconies. You seamlessly travel from place to place as the set quickly transforms into a swanky jazz club, a jail cell, the bright lights of the Windy City, and a movie set in Hollywood. The variety of stage props including suitcases, band sets, sofas, and a large office desk quickly glide on and off stage in the blink of an eye.

You feel as though you have traveled back in time and see what it was like to live in America in the 1920s and experience each decade until the early 1970s. Thanks to Toni-Leslie James, the costume design accurately changes with each decade from the dropped waistlines and feathers of the 1920s to the full skirts and sportcoats in the 1950s. It’s also worth mentioning Cookie Jordan’s phenomenal wig and hair design that flows beautifully throughout the musical.

Directed by Christopher Renshaw and conceived by Renshaw and Andrew Delaplaine, "AWonderful World" is a hit musical that is an absolute must-see. The perfectly written storyline steadily moves you through Louis Armstrong’s life through song and dance as he pursues a wonderful world through blue notes, scatting, and sheer perseverance.

Out of the 26-member cast, the true star of the show, James Monroe Iglehart embodies Louis Armstrong. He nails every Louis Armstrong gesture and even has a similar smile. It’s almost as if he was resurrected and brought before our eyes with his magnetic charm, musical genius, and unforgettable voice.

This musical had the daunting task of creating music and sound that would closely resonate with the sound of Ambassador Satch’s musical perfection. I feel that it’s safe to say, that this show answered that call with a talented live jazz ensemble and Annastasia Victory’s and Michael O. Mitchell’s flawless music direction. Every cast member sang beautifully and hit every note with perfection. And as they sang they danced away in rhythmic dances around the stage.

There are a variety of dance styles like the Fox Trot and the Boogie-woogie. Each move was on point and added that razzle dazzle we all crave in a musical.
Despite some of the hardships the characters face in the musical, the show lightens it up with some comedic flare. I found myself and the crowd laughing often with some suggestive jokes and witty clap backs. At one point, Louis Armstrong’s character breaks the fourth wall and asks for the audience’s participation in singing one of his famous songs.

The opening show ended with a standing ovation and loud cheering from the crowd. Many people had Big Dipper smiles on their faces and were sharing their amazement at the performance. One crowd member, Ashley Josey said, “I literally could not stop watching. It was so inspirational.” Outside the theatre, my heart felt warm as I watched one audience member dancing and scatting his way across the crosswalk. I gotta say, I think even Pops would be proud of this wonderful, wonderful show.

‘A Wonderful World’ produced by Vanessa Williams opened on Friday, October 13th, and will run until October 29, 2023. Showtimes are 2:00 p.m. and 7:30 p.m. on Sundays, Tuesdays, Wednesdays, Thursdays, Fridays, and Saturdays. The runtime is 2 hours and 40 minutes with a brief intermission. Tickets range from $11 to $101 depending on seats. Located at the Cadillac Palace Theatre in downtown Chicago at 151 W Randolph Street, drinks and snacks offered at concessions and can be brought into the auditorium. There are also a few items for sale at the merch station including a mug, t-shirt, pin, and more.
Tickets are available for purchase at https://www.louisarmstrongmusical.com/

The above phrase has become a regular one spoken in my home and in the homes of friends in the village of Skokie, first as an inside joke and now as a communal mantra. A mantra of togetherness. A mantra of character. A mantra of love.

That same mantra kept playing in my mind as the Bartlett Sher-directed touring production of Bock and Harnick’s timeless Fiddler on the Roof created a village on the stage of the Cadillac Palace Theatre. Sure, the sets carried us back to turn of the century Eastern Europe. And sure, those beloved songs and that well-known story transport us to the village of Anatekva. But it’s the people who populate that shtetl — and the talented actors of this production who portray them — that bring the village to life.

From the get-go, the face and voice of the village is Yehezkel Lazarov’s Tevye. An Israeli actor and director, Lazarov brings a similar old-world grit and charm to the character that Topol did in the film version. He’s funny and personable, sure, but also tired and wistful and, perhaps, a bit broken as he lays out his life to his audience and his G-d. My favorite number from Fiddler, and the one I most connect with as a father and as someone in a profession that isn’t as profitable as those held by my peers, is “If I Were a Rich Man,” and Lazarov nails it, hitting the humorous notes and the cantorial ones, as well. But beyond his skill at singing and dancing on a Broadway stage, it’s Lazarov’s ability to flesh out Tevye and bring him to life that did it for me.

Tevye’s daughters, played by Mel Weyn (Tzeitel), Ruthy Froch (Hodel), and Natalie Powers (Chava), are the other standouts. Again, as the father and mother of daughters, my wife and I were all too familiar with the complex mix of side-eye glances, huffiness, and adoration that Tevye’s girls show him. Weyn, Froch, and Powers nail it when it comes to portraying a family. And they nail it, too, musically. Particularly when the trio takes on “Matchmaker, Matchmaker,” their voices blend and their harmonies soar as if they actually are siblings singing together.

The other main roles are adequately filled, as well. Carol Beaugard, as said matchmaker Yente, is a hoot. Maite Uzal effectively plays Tevye’s foil, his acerbic, realistic, and ultimately loving wife, Golde. Jesse Weil, Ryne Nardecchia, and Joshua Logan Alexander all do well as Tevye’s daughters’ suitors.

But it’s the rest of the folks in the cast — the ensemble and the musicians — who really make the village. The bottle dance at the wedding that ends Act I is, for sure, a main highlight. But the village of folks that make up the busyness and beauty behind each of the show’s big numbers is what grabs the eyes and hearts of the audience. Whether it’s the bustling Anatekva of “Tradition,” the drunken Jews and Gentiles who come together if only for a moment in “To Life,” or the specters that haunt “Tevye’s Dream,” the ensemble shines throughout. So, too, does the orchestra, conducted and coordinated by Michael Uselmann and John Mezzio, fill the big shoes that Fiddler’s musical legacy requires. Ionut Cosarca on violin strings us along from the pit, just as and spirited Paul Morland does in his role as the titular Fiddler.

So, to see a new take on a classic this holiday season, and to see a cast of skilled creatives make the village this classic takes, head to the Cadillac Palace Theatre from now until January 6 for Fiddler on the Roof.

When Schönberg and Boublil’s Miss Saigon made its original run in the early 90s, I missed it — too far away to catch a traveling performance, and too young to have seen or even afforded to see it. And back then, I was way too young to have really understood the big, Important (with a capital I) issues the musical raised, or which were raised by its very being. Sure, I knew many of the show’s songs, from the ubiquitous double-CD soundtrack that seemed to exist in the music collection of nearly every person I knew. But like they say, that Miss Saigon was wasted on the young.

So given the chance to see the current touring production currently playing at the Cadillac Palace Theatre, I sat down not so young, but ready to finally see the show I thought I’d known all those years. And while it was every bit the spectacle I imagined, my experience — and the experiences our world has had — added even more substance and complexity to an already substantial and complex tale.

First, the spectacle. Many of the touring productions coming through Chicago are great but feel pared down compared to shows that would stay for extended periods. Perhaps it’s also the style of recent shows, as well, to be economical and sparse when it comes to stage design. But that’s not the case with this Miss Saigon.

The sets dazzle, with red-light signs flashing, American flags waving, Ho Chi Minh glaring, and chopper blades throbbing. The costumes, too, transport you, to brothels catering to America GIs, huts housing the Vietnamese whose land they’ve overrun, and embassy gates closed to some.

The ensemble dazzles, as well, making the cast seem even larger than it is. Whether it’s said servicemen out for a bit of R&R or the women whose lot in life is to provide it, whether it’s postwar Communist soldiers marching in file, or postwar American men looking to provide for the children fathered half a world away, the cast fills all the roles the show requires, and they fill them well.

The ensemble really earns its pay during the showstopper near the end when Red Concepcion’s pimp, The Engineer, champions that elusive “American Dream” — high-stepping and singing as The Engineer preens and prances. Concepcion’s Engineer takes on even more meaning than perhaps he would have 25 years ago, as the fast-talking, macho-walking archetype who’ll use others — particularly those less powerful than himself — is one fully come to life. So, too, do some of his lines hit hard, especially the added bit about “Cocaine, shotguns, and prayer—hallelujah!” being the American dream, of then or now. But whether portraying the awfulness of yesteryear or that which we now face, Concepcion steals the show.

That’s not to say the rest of the cast isn’t wonderful. Starting the second act, J. Daughtry’s John changes from a typical young Marine at war to a man who’s been changed by the things he saw and did while there. Leading a men’s chorus in “Bui Doi,” a song about the children fathered by American soldiers and “born in strife,” Daughtry’s voice rises above the chorus and the moving pictures of children projected behind him, reaching for the rafters even as it laments the lows of humanity’s inhumanity.

Anthony Festa, as John’s fellow Marine Chris, also subverts the macho American infantryman one would expect. Whether it’s the touching “Wedding Ceremony” he shares with Kim (hauntingly chorused by the female ensemble members into something like a hymn) or his duet with her on “Last Night of the World,” a “song played on a solo saxophone, a crazy sound, a lonely sound,” he cries “a cry that tells us love goes on and on.”

But it is Emily Bautista as Kim whose cry is the loudest, the loveliest, and goes on and on across the Cadillac’s stage. Bautista brings both vulnerability and strength to a role that in lesser hands might very well be engulfed by such a grand staging. From singing to and with Chris of the sun and moon, to telling the son she had with him that “I’d Give My Life for You,” Kim’s life is the focus, from her entrance to her exit.

And everything in between is what will surely take the breath away and break the hearts of anyone in attendance of this production of Miss Saigon, a production that not only shines a light on an unfortunate international moment of the past, but on the continued problems with humanity and inhumanity with which our world still struggles.