When the days are short, and an east coast rodent tries to convince the US they can predict the weather, it’s easy to succumb to the winter blues. The winter season is long, and couple it with bouts of snow and ICE it’s no wonder Chicagoans look for levity and comfort to get them through the darkest of days. Fortunately, Chicago Theatre Week is here to offer a reprieve from the cold and drudgery of the season, and there’s no better way for you to push away those seasonal blues than with a modern spin on an old and familiar classic: Dracula: A Comedy of Terrors is a Bram-new comedy that’s perfect for audiences of all blood types.

In the treacherous mountains of Transylvania, a meek English real estate agent takes a harrowing journey to meet a new and mysterious client, who also just happens to be the most terrifying and ferocious monster the world has ever known: Count Dracula! As famed female vampire hunter Jean Van Helsing and company chase Drac from Transylvania to the British countryside to London and back, their antics are guaranteed to increase your pulse and cause bloodcurdling screams—of laughter.

Dracula: A Comedy of Terrors is refreshingly unserious. While it is loosely based on the classic novel Dracula by Bram Stoker, you have to squint in this production to see the parallels. It’s neither a retelling nor a reimagining. Rather, it’s a light, frothy, funny, and completely hilarious story dripping with as many sexual innuendos and double entendres as high-brow puns. “Since he first appeared on the page, Dracula has embodied a culture panicking about sex, desire, and what the unknown might bring,” says Director Matthew Masino. “As we look at our world today, we see familiar anxieties resurfacing. Dracula: A Comedy of Terrors meets this moment not with solemnity, but with laughter.” You won’t find deep truths about the human condition or delve into the dichotomy of mortality and immortality, but it doesn’t strive to do so. What if Dracula were bi-curious? What if he sought an eternal love while also seeking to diversify his portfolio with real estate? Dracula: A Comedy of Terrors won’t answer those questions or anything of the sort. Instead, the small but mighty ensemble cast of The Lazy Susan Theatre Co ask you to suspend your disbelief and your gravitas at the door and invite you to sip a boozy Capri Sun through a blood bag and enjoy a completely hilarious story, exceptionally well-acted and well-staged. Is there really anything else you need to enjoy an evening of theatre?

Sometimes we need to be reminded that not everything needs to be taken so seriously. No, you don’t have to answer that email after hours. And no, you don’t have to stay woke all the time. Though I did learn it’s a good thing to know your blood type, if only to know what to write on the blood bag you will be sipping from. That’s a seriously unserious thing to do. And so is seeing this play. Dracula: A Comedy of Terrors runs through February 22^nd, Thursday through Saturday at The Greenhouse Theatre Center (2257 N Lincoln Ave, Lincoln Park, Chicago). The show runs for 1.5 hours with no intermission. Tickets are available at www.lazysusantheatreco.com.

At this time of year, when Christmas lights begin to twinkle and colors of green and red illuminate throughout the city, I am nostalgically drawn to the ballet. To me, there is nothing so quintessentially magical as The Nutcracker ballet at Christmas time. I can hum, and chair compose the entirety of Tchaikovsky’s masterpiece. I can mark every step to every number of the two-act ballet (shout out to Inland Pacific Ballet). I can picture my grandmother sewing the principal dancers into their tutus, and my mother managing ticket sales and donning the mother-ginger costume. For me, the holiday and the ballet are indivisibly interconnected. And now that I’ve lived in Chicagoland for longer than my childhood in Southern California, there is something nostalgically familiar and magical about Christopher Wheeldon's kaleidoscopic reimagining of The Nutcracker, now playing at The Lyric Opera House.

On a magical Christmas Eve, after awakening to an epic battle between Toy Soldiers and the Rat King, a flurry of snowflakes sweeps Marie away on a whirlwind journey to the dreamlike fairgrounds of the World's Columbian Exposition. Set to Tchaikovsky's classic score, experience sprawling attractions representing countries from around the globe: the dazzling Golden Statue, the mystique of an Arabian enchantress, vibrant Venetian masked dancers, Chinese dragons, and Buffalo Bill's Wild West Show. This holiday season, enter the spellbinding world where history and dreams intertwine.

The Nutcracker Amanda Assucena and Hyuma Kiyosawa in Joffrey Ballet's The Nutcracker at Lyric Opera House.

Wheeldon’s The Nutcracker is set against the majesty of the 1893 World’s Fair of Chicago. Though remnants of the fair can still be found in buildings like The Museum of Science and Industry, the true grandeur and spectacle is lost to photographs, sketches, and our imaginations. The magic and marvel of the fair’s White City is rumored to be the inspiration for the Emerald City in his best-selling children’s book of 1900, The Wonderful Wizard of Oz. While there is no solid evidence to support this claim, it would make sense that the fair, where Cracker Jacks, the Ferris wheel, and electricity itself were debuted and displayed, could inspire a magical city of Oz. It’s that same magic that Wheeldon captures in the Joffrey’s production of The Nutcracker. The uniquely Chicago-centric production of the ballet features the familiar storyline of Marie and her family, though it focuses on the love story between The Great Impresario of the Fair, performed by Stefan Gonçalvez, and Marie’s mother, the sculptress for the Fair and The Queen of the Fair, performed by Gayeon Jung. It shows the humble working-class families that built the city itself in the first act, juxtaposed against the vibrant and colorful world of the White City in the second act. The humility and simplicity of one act contrasted with the majesty of the second, coupled with journeys across Lake Michigan, make this production equally familiar and relatable. To date, it’s still one of my favorite productions of the ballet, quintessentially Chicago and absolutely magical.

What I wouldn’t give to be a snowflake in the core, a worker at the fair dancing beneath the first Ferris Wheel, or simply a watcher from the wings of this beautiful ballet. At this point, I have seen and reviewed the play more years than I performed in the ballet, and I still get goosebumps when the tree rises, and the snow falls. Whether you are seeing it for the hundredth time, the tenth time, or the first, every Chicagoan should experience the Nutcracker. Experience the magic for yourself. The Nutcracker is playing now through December 28^th at The Lyric Opera House (20 N. Wacker Drive, Chicago). Do not overpay for Joffrey tickets! Beware of ticket resellers offering overpriced or invalid tickets. The Joffrey is the only official seller with the best prices, available at www.joffrey.org.

When the sun plays peek-a-boo and a pre-winter chill settles over Chicagoland, locals inevitably look for ways to warm their hearts as well as their fingers and toes. It’s during this time of year that locals venture indoors and when the Chicago theatre scene offers respite from the bitter cold. Like a favorite holiday treat, there are dozens of choices available to seekers of light and warmth, from recurring favorites and classic retellings to original plays and immersive theatre. There is no better way to celebrate the season and to lighten spirits than a good hearty laugh, or two, or three, or so many your sides hurt the next day. You’ll find no better way of warming up this December than seeing the deliciously dirty fairytale that is Rapornzel now playing at the Hoover-Leppen Theatre.

Rapornzel (yes, you read that right, it is not a typo) is a panto-style reimagining of the classic fairytale of Rapunzel. Many years ago, the King and Queen of a far-off kingdom were blessed with a baby girl with long, magical, downstairs hair. One day, the jealous witch Mother F**ker kidnapped the child and locked her in a tower, selfishly squandering her merkin magic for herself. With the help of local hairdresser Dame Fanny Follicle, her thick-as-s**t son Pascal, the dashing Prince Ride-her, and the Hairy Fairy, will Rapornzel ever come out?

If you couldn’t glean it from the title, Rapornzel is a serious-unserious play. Serious in the fact that the cast and crew put on a spellbinding, side-splitting comedic performance, but unserious to ensure the audience was able to escape the bitter cold reality for a few short hours and simply enjoy a hilarious performance. The story is written in the pantomime style or “panto.” Panto is a theatrical performance style dating back to the 1700s, traditionally performed around Christmas time. The popular form incorporates song and dance, exaggeration, and fourth wall breaks to tell a story. It often interchanges slapstick puns heavy with innuendos and groan-worthy dad-jokes to break the monotony of traditional theatre. Critical to the success of these comedic shows is audience participation. It’s highly encouraged to react and respond to the actors on stage, think “booing” the villain, “cheering” the hero, and responsive questioning from the actors such as: “Chicago is so cold…” to which the audience responds: “How cold is it?” wherein the actors then deliver a witty or punny joke in the tale that may or may not make you laugh, guffaw, or simply groan at how bad it is (in a good way). Panto is not for everyone, nor are puns or dad jokes, but in the Vonnegut style approach of moving the story along, it’s difficult not to enjoy, and even an ostrich chuckle at least once.

But when it comes to Rapornzel, I guarantee you’ll laugh more than once. Rapornzel is what you get if you take a fairytale and remix it with a book of dad-jokes, throw in a general use of 1980s musical bangers, and finish it with the dry wit of 2025. Rapornzel is one of the many bawdy, silly, and immensely entertaining pantomime scripts written by professional performer-writer Tom Whalley. The writer’s works have become a popular holiday season tradition at PrideArts, joining the ranks of Whalley’s other works like Jack Off The Beanstalk, Sleeping with Beauty, and Throbbin Wood. With unimaginable R-rated puns, pop songs, and audience participation, Rapornzel follows a growing holiday tradition within PrideArts. This year’s production is exceptionally acted by Chicago talent like Jeremy Cox, who plays Hairy Fairy Dandruff, Peter Moeller as the local hairdresser Dame Fanny Follicle, and the sexy and incomparable Gina Cioffi as the evil Mother F**ker who kidnaps Rapornzel. For those still tepid about the play or the panto style, don’t worry, the skilled actors utilize their quick wits, improvisation skills, and comedic timing to make this production enjoyable for all, never overstepping where they sense timidity. They read and respond to the audience to both give and get energy to move the story along and draw out a smile from even the most austere theatre goer.

Therein lies the beauty of this type of theatrical play. Whalley’s style of Panto grants permission to the audience to simply lighten up, be silly, and share some laughs. In short, in its seriousness to stage a good production, it masterfully creates a space to be supremely unserious. There aren’t many theatrical stylings that can pull that off these days. 2025 has been wrought with ill humor, tired remakes, and uninspired sequels. It’s refreshing and welcome to see a production that doesn’t take itself too seriously while still representing Chicago theatre, PrideArts, and the theatrical community well. The actors, panto, and Rapornzel itself, beg the attendees to lighten up. It reminds us that we don’t always need to seek hidden meaning between the witty one-liners, and we don’t need to laugh at every joke we’ve heard at countless Thanksgiving tables by distant relatives. We should endeavor to seek out light and warmth as the days grow shorter and the darker nights descend. Rapornzel beckons Chicagoans inside and endeavors to thaw critical hearts this holiday season. It’s a healthy reminder that it’s okay to shout, especially when asked or directed to do so. It’s fine to laugh or simply smile. And it’s encouraged, and I daresay desperately needed, to remember that nothing, including fairy-hairy-overly-share-y-tales, is really that serious. Funny, yes. Serious, no. That in and of itself is a gift.

 Rapornzel is playing for a short while longer through December 14^th at the Hoover-Leppen Theatre in Center on Halsted (3656 N. Halsted, Chicago). Grab your winter jacket and your tickets today, available at www.pridearts.org, and warm up with a few hearty belly laughs guaranteed to shake away your winter blues.

The holiday season in Chicagoland brings with it many things: snowstorms, festive markets, twinkling lights, and cozy traditions that warm the soul on bitterly cold evenings. Holiday traditions also abound in the Chicago theatre scene with familiar favorites, comforting stories, and guilty pleasures easy to come by. If 2025 has taught us anything, it’s that what we choose matters; where we spend our money, where we focus on energies, and how we spend our money and, more importantly, our time. It’s a question at the heart of one of the most beloved holiday shows, A Christmas Carol, now playing at the Metropolis Performing Arts Center.

Charles Dickens’ enchanting tale of redemption, generosity, and hope comes to life in Arlington Heights’ favorite holiday tradition. On a snowy Christmas Eve brimming with memorable characters, ghostly apparitions, and festive holiday music, miserly Ebenezer Scrooge visits the past, present, and future and discovers the true meaning of Christmas. A Christmas Carol is adapted and directed by Metropolis Artistic Director Johanna McKenzie Miller and music directed by Cory Goodrich.

Despite the snowy weather on opening night and the lack of proper heating in the theatre itself, there was something distinctly cold about Metropolis’s staging of A Christmas Carol this year. The performance leaned heavily on Dickens’ traditional storyline, offering no room for modernization. The simple storyline was nearly impossible to follow, many voices hardly carrying past the first few rows of the chilly theatre. When the dialogue did reach audiences in the back rows, the speech was heavy-handed, garbled, and lacking any emotional substance behind it. Even Steve Connell’s brilliant and iconic performance of Scrooge felt unsupported by the ensemble cast. Actors around Connell had difficulty delivering their lines in forced English accents that came and went as swiftly as the fog dispersed, utterly devoid of conviction for such an emotional holiday piece. The performance was simply cold, distant, and clinical.

There is something to be said for traditions, but this calendar year has made us question if the traditions we uphold are worthy of such repetition. Do we do these things because we genuinely want to or simply due to muscle memory? Are these traditions worthy of putting on, or is it merely a bygone expectation? A Christmas Carol seems particularly scrutinizing in a year wrought with conversations of greed, corruption, and overconsumption. Dickens’ classic tale now skews towards sci-fi and fantasy with a moody and selfish protagonist whose sudden change of heart warms and delights. A wealthy businessman with disdain for the poor has a sudden awakening and gives back to his community? In what world? Certainly not this one. This year, the play feels farcical, sardonic, and more than a little tone-deaf. 2025 has challenged many preconceived ideas and traditions, and that same energy should be utilized when viewing Dickens’ A Christmas Carol. Before we call it cynical, we should ask ourselves if this piece of Christmas tradition should be shelved with the likes of Hello, Dolly, and Annie, beautiful pieces for their time that need to step away to make room for new perspectives, new voices, new stories. Is A Christmas Carol a beloved classic or merely a ghost of Christmas past (pun intended) that has nothing left to teach us?

A Christmas Carol is now playing at Metropolis Performing Arts Centre (111 W Campbell St., Arlington Heights) through December 24. Tickets are now on sale for $25-$49 at MetropolisArts.com.

Chicago is well-known for its hidden gems: speakeasies hidden behind working laundromats, restaurants located down darkened alleyways, and even theatres located in basements and converted houses. One such innocuous playhouse resides in a small, transitioned home studio, just west of the Uptown neighbourhood. Like any hidden gem in Chicago, looks can be deceiving, and the hyper-intimate 25-seat theatre that is Open Space Arts is playing anything but small as they put on the Chicago Premiere of DORIAN.

DORIAN is a thrilling, queer-forward remix of Oscar Wilde’s timeless tale, brought to life in this bold and visually stunning stage adaptation by Phoebe Eclair-Powell and Owen Horsley. In a world obsessed with beauty and power, what happens when someone is given the chance to remain perfect—forever? This modern interpretation dives headfirst into vanity, desire, and the danger of refusing to age, illuminating the darkest corners of our obsession with self-image and fame. DORIAN fuses gothic horror, biting satire, and cabaret flair into an unforgettable night of theatre.

Similar to the space it was performed in, DORIAN, directed by Aaron Holland, is one of those surprise gems woven into the fabric of the city’s neighbourhoods. The play dramatises the story of Oscar Wilde’s novel THE PICTURE OF DORIAN GRAY in the present-day club scene, where Dorian, the main protagonist, Basil, an artist who idolises Dorian, and Henry, the aristocratic antagonist, gallivant around late 1800s London in search of art, beauty, and just a smidge of hedonism. The minimalist-maximalism of the Open Arts Space is expertly utilised by the play’s performers, Luke Gerdes as Dorian, Bosie, and others, Anthony Kayer as Henry Wotton, Oscar Wilde and others and Brian Kulaga as Basil, James, and other characters. The three performers bring the hedonism and exuberance of Wilde’s Victorian London to the modern stage with wickedly witty dialogue and a reverence for the late author. DORIAN juxtaposes THE PICTURE OF DORIAN GRAY alongside the historical record of Wilde’s prosecution and conviction for the “gross indecency” of his relationship with the much younger Lord Alfred “Bosie” Douglas in 1895, at the height of his literary success. The two stories intertwine beautifully, with plenty of camp and sass like The Victorian Homosexual Quiz, blended with respect and reverence that Wilde himself would applaud. The performances of Gerdes’ Dorian and Kayers’ Wilde are shockingly tender, perfectly capturing the drive and desire for beauty and youth that both the author and fictional protagonist sought in Victorian London.

DORIAN is as relevant and relatable today as it was in Victorian times. The play features many of the same challenges, vices, and themes that modern-day audiences can relate to. Told with poetic prose and perfectly picturesque poses, this production is a rare gem in the Chicago theatre scene. Just as our protagonist, Dorian Gray, or the author himself, Oscar Wilde, would do, we must covet and hold on to our Chicago gems, appreciate and admire them. Youth, beauty, art, and productions are all fleeting in their world, and DORIAN is no different. DORIAN will play through December 14 at Open Space Arts (1411 W. Wilson, Chicago). Tickets are $30 and are on sale now at www.openspacearts.org.

In a world where our attention span seems to be shrinking, it’s comforting to know there are still one-shots available for our entertainment like a limited mini-series, a short story, a collection of poetry, or in the case of operatic masterpieces, double-feature shows. One of the drawbacks to newcomers with the opera is the time and focus the productions require of the audience. Hours long symphonies and classical music scores coupled with lengthy and drawn-out emotive performances can be difficult to follow for new patrons, particularly with the false sense of urgency our modern world requires. Rather than let an art form die out simply to accommodate the times, it’s wonderful to see the Lyric Opera present one-shot masterpieces like Cavalleria rusticana and Pagliacci now playing at the Lyric Opera House this month.

Quinn Kelsey as Tonio and Yulia Matochkina as Santuzza in Cavalleria rusticana at Lyric Opera House.

Cavalleria rusticana and Pagliacci are two 19^th-century Italian operas that strip love of its overwrought grandeur and show it for what it can become: messy, corrosive, and even fatal. Short in length but packed with unforgettable fervor, Cav/Pag, as it’s colloquially known in the operaverse, delivers quick emotional blows to the heart. Cavalleria rusticana transports the audience to a Sicilian village on Easter morning, where sacred rituals can’t drown out explosive scandal. Santuzza, a woman shunned by her community and cast aside by her lover Turiddu, clings to her crumbling faith. As she pleads for forgiveness and recognition, she discovers that Turiddu has resumed his affair with Lola, who just so happens to be married to Alfio, a local businessman. As the church bells ring, so does the call for blood to spill. In the church square, as villagers gather to celebrate, personal betrayals erupt into public vengeance. Pagliacci centers on a traveling troupe of performers who arrive in a Sicilian village where envy and deception brew behind the scenes. Canio, the troupe’s leader, learns from Tonio that his wife and leading lady, Nedda, has taken Silvio as her lover. Tonio also rages with an unrequited love for Nedda. Canio must go on with the show, playing a clown whose wife betrays him, a role which hews all too close to his reality. Beneath its painted smiles and vaudeville spectacle, Pagliacci reveals a stage where illusion shatters and truth bleeds through the cracks.

Quinn Kelsey and the Company of Cavalleria rusticana. 

Both operas run times are roughly one hour and thirty minutes (give or take) with an intermission to break up the two stories. The storylines are easy to follow with an emotional depth that is relatable whether in commiseration or contempt, making this run a perfect performance for operatic neophytes. It’s easy to see why these two productions are frequently coupled together. Both written in and first performed in the 1890s, the operas broke from the traditional focus on mythology and royalty to ground themselves in the realistic and often gritty depictions of everyday life. Both storylines feature jilted and scorned lovers, duplicitous deeds, and depict what can happen when someone cannot regulate their emotions. Despite hundreds of years between the first performances and the show today, the stories still resonate with audiences proving humans are going to human, adultery is a catalyst towards conflict, and love and vengeance can be a lethal combination. The relatable themes are accompanied by a beautiful musical score that’s regularly featured and parodied in modern media. Led by the incomparable Enrique Mazzola, Lyric’s music director, the score adds a gravitas to the incredible talents of lyric newcomers mezzo-soprano Yulia Matochkina as Santuzza alongside tenor SeokJong Baek as Turiddu and tenor Russell Thomas as Canio and soprano Gabriella Reyes as Nedda. Alongside an incredible ensemble cast, set against an incredibly detailed and charming set designed by Michael Yeargan, the music and voices tug at heartstrings and tickle the brain in the most remarkable ways bridging time and cultures to bring these stories to life.

I’m not going to lie and say the opera is for everyone. The productions are long and require a dedicated time block and focus that not everyone can afford. It’s also often cost prohibitive for many audiences. The Lyric Opera has made incredible strides to lower the cost of admission while staging productions that require no prior knowledge or experience with the medium. As a culture, opera is not always the most welcoming of communities particularly when beloved productions are running. If you haven’t seen the opera a dozen times and can speak about sopranos and tenors as one would old friends, you’re likely to see a shoulder as cold as the theatre mid-performance. But Cavalleria rusticana & Pagliacci is completely different. Two one-shot stories divided by a welcomed intermission featuring storylines that are as scandalous and captivating as any Netflix mini-series. You won’t receive judgmental looks for not knowing the unspoken operatic code of conduct nor for not playing theatre conductor and knowing every rise and fall within the scores. With this performance, you simply get to be immersed into the world of opera with a relatable and down-to-earth production that highlights the best of what it has to offer; incredible scores, powerhouse talent, and one-shot drama that will have you both laughing and gasping. If you’ve ever been curious about the opera or wanted to check off a theatrical or Chicago bucket list, Cavalleria rusticana and Pagliacci is the perfect opportunity for you. And who doesn’t love a good one-shot story set to a classical and dramatic score?

Cavalleria rusticana & Pagliacci is now showing at the Lyric Opera House (20 N Wacker Dr, Chicago) through November 23^rd. Sung in Italian with projected English titles, it has a run time of 2 hours and 55 minutes, including 1 intermission. Get your tickets today at lyricopera.org to experience this limited run of these Italian masterpieces today.

There’s an old adage that says something along the lines of “don’t judge a book by its cover.” The same wisdom can most certainly be applied to playbills. More often than not the title of a musical describes exactly what the theatre piece will be about; Hamilton is about Alexander Hamilton, Annie is about an orphan girl named Annie, Wicked is about, you guessed it, a wicked witch. Following this same logic you think I’d have known what Godspell would be about prior to seeing the show. But I, ironically, judged incorrectly and found myself judged. Having heard the name in musical theatre circles and knowing it was a Broadway darling for years, I was genuinely surprised to find that Godspell was not some spooky musical about casting spells or witchcraft and wizardry but a musical based upon the gospel according to St. Matthew. Boy did I judge that book by its cover.

Godspell is a musical based on the Gospel of Matthew, which tells the story of Jesus through a modern-day group of non-Biblical characters symbolizing his "disciples" who enact his parables through song, dance, and comedy. This production of Godspell finds a fractured and disconnected community gathered at a local coffee shop discovering the transformative power of forgiveness and embracing radical love.

Like any theatrical experience patrons must have a willing suspension of disbelief. There is a burden to check all preconceived biases at the door and allow themselves to be immersed into another world for a few short hours. That’s where the magic of theatre resides, with oneself. For the first act of Godspell, I regrettably did not suspend my disbelief. I found myself resistant to the words, given they were word for word from the Gospel of Matthew. Bearing in mind I had not researched the play nor even studied the synopsis, merely checking off the show from my musical theatre bucket list, I went into the theatre not knowing anything about this play. Two songs in and I found myself not in a cushioned theatre seat but in a hardbacked pew, wondering how everyone around me was smiling and laughing while I sat questioning what was going on and pointing out hypocrisies and double-standards. Godspell is nearly word-for-word the gospels and include infectious pop and rock songs like “Day by Day,” “Prepare Ye the Way of the Lord,” “O Bless the Lord My Soul” that one might hear in any new age church. I felt myself rejecting the play, the words that were being said, the songs that were being sung, even wondering how so many people in the audience knew the play word-for-word, bar-for-bar. Surely this is just propaganda? Surely this is some kind of joke. But then it hit me. I’m being critical in the worst way. I’m judging this book by its cover. I allowed my preconceived biases to blind me of the possibility of a great show. I quickly cast away my disbelief.

Godspell was phenomenal. Debuting in 1970 with music and lyrics by Stephen Schwartz, the musical has been a consistent success, even becoming a major motion picture staring Victor Garber as Jesus. Music Theater Works’ version, directed by Matthew Silar, choreographed by Amanda Hope and music directed by Justin Kono, modernizes the play in a way that is not pandering or patronizing. Rather it weaves the play’s central theme and message with real people, quick witted humor, exceptional improv, and genuine love and care. While the context of the play can be preachy and heavy handed, as the Bible tends to be, this production is surprisingly light thanks to local Chicago talent like Jacob Simon as John the Baptist, Tafadzwa Diener, Dani Pike, and Ben Woods as the café community members. The intentional care and lightness the cast bring to their performances make you forget you’re listening to preachy gospel. You’re not being preached to, rather, you’re following skeptical and reluctant patrons find meaning in the words spoken at the open mic night by Jesus himself, exceptionally played by Eldon Warner-Soriano, and experiencing the lessons through clever and well-timed improv. Coupled with the talented cast, Silar’s version of Godspell strips away the heavy handedness, allowing the cast of characters to be their goofy-sometimes-awkward-yet-no-less-hilarious selves while still delivering impactful messages about loving your neighbor and forgiving others as you would want to be forgiven. It’s clear the cast and crew checked any preconceived biases at the door when staging this musical. Were one to have no prior knowledge of the Bible, the gospels, or religion itself, they’d find themselves immersed in a world of good words and teachings of love and acceptance one could find in dozens of books from Harry Potter to The Song of Achilles.

In today’s political and cultural climate, Godspell is a risky choice to put on. It was easy to allow that thin magical line between the real world and theatre to blur. It was easy to bring the real world with me when I ventured into the theatre. It was even easier to be stubborn and reject something simply because I don’t like how some people interpret, use, or weaponize the gospels. Personally, I think those very same people would do well to suspend their biases and see Godspell and be reminded about the true meaning and purpose of the very book they preach about. That being said, I think putting on Godspell in today’s political and cultural climate is not only important, it’s essential. The content of the play and Silar’s beautiful production will no doubt being necessary dialogue and spark conversation and ask audience members to reflect on the play vs. their defined ideals. Godspell is just a story of a man, told through the eyes of another man, and performed by exceptionally talented individuals. Or is it something more? Was this play preachy or did it have some real-life lessons and messages to take away? Do I reject the play or do I reject how others interpret the context behind the play? Am I being critical or skeptical? Hypocritical even? Hell, soon we’ll all be flocking to theatres to see a cinematic production about a wicked witch and will probably have very little issue suspending our disbelief as we watch a witch flying on a magical broomstick with her army of flying monkeys. So I implore everyone to keep that same energy when viewing this production of Godspell. At the end of the day, it’s just a show, and gods know we can all use a bit more magic in our lives, even if it limited to the theatre.

Godspell is presented by Music Theater Works and is sponsored by the Whirled Peas Foundation and presented in partnership with Curt’s Café. It is playing now through November 16^th at The North Shore Center for the Performing Arts in Skokie (9501 Skokie Blvd, Skokie). Tickets are now on sale from $19.50 to $106 with tickets for guests 25 years old and younger available at half-price at MusicTheaterWorks.com or by calling the Music Theater Works box office at the North Shore Center, 847.673.6300.

A famous Chicagoan once said “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it.” Life does move fast, and opportunities and experiences are the simplest way to pause time. For me there’s no better place in all of Chicago where time stops, even for a short while, than the Lyric Opera. There’s something magical about the venue, from the moment you enter the theatre to marvel at the grandness of the entrance hall until the time the lights blink to usher you to your plush red chairs in the audience to view an operatic masterpiece. It’s when you leave the theatre, wandering into the chilly Chicago night air, that you realize that the opera allowed you to stop time, and not just for the lengthy three plus hour run times the operas tend to be, but truly stop time. Because the magic of the opera allows us to stop, look, and reflect that we watched an opera that has been performed for thousands of years. Plays and operas based on plays and works that reach to the earliest stages of life on earth and that we as a modern audience are still moved by today, can still connect to on an emotional level. Time stops at the opera and for a brief run time, you can view the same operatic magic as the Lyric Opera of Chicago’s 2025/26 Season kicks off with a searing tale of vengeance and betrayal: Cherubini’s Medea, on stage October 11–26, 2025.

Hell hath no fury like a sorceress scorned. Euripides's ancient tragedy comes to blazing life in this riveting opera, a late 18th-century masterpiece with music and themes that continue to resonate across the millennia. This centuries-old tale burns with unrelenting emotional fire, and in Cherubini’s hands, it demands to be retold. Audiences witness the tragedy of Medea, a powerful sorceress betrayed by her lover, Giasone, who abandons her and their two children to marry another woman, Glauce, the daughter of the king Creonte. Given just 24 hours to accept her fate, Medea instead bends it to her will, with her accomplice, Neris, at her side, delivering vengeance that shakes the very foundations of the kingdom. A favorite of Beethoven himself, who considered Cherubini to be the greatest living composer of his time, Medea channels the raw power of Greek tragedy and sets it to unforgettable music, leaving audiences breathless as love curdles into rage, and a mother’s heartbreak becomes her most devastating weapon.

With a cast of operatic Olympians, visionary direction, and music that blazes with wrath and beauty, Medea sets the tone for a season defined by bold storytelling and emotional intensity. Medea marks the return of three Chicago-born international stars to the Lyric stage, superstar soprano Sondra Radvanovsky in an Olympic-level performance of the title role, acclaimed tenor Matthew Polenzani, and the rising star mezzo-soprano Zoie Reams. Coupled with the Lyric Opera Orchestra conducted by “Chicago’s Maestro-Around-Town” Lyric Music Director Enrique Mazzola, Cherubini’s score delivers operatic fire and fury as never before. Lyric presents Medea for the first time in its seven-decade history in a production directed by Sir David McVicar, who returns with a sweeping vision of beauty and decay that commands attention from first note to final breath. This spellbinding production transforms myth into music and passion into fire and creates an unforgettable night at the opera that proves hell hath no fury like a sorceress scorned.

Is there anything more profound or timeless as a woman’s rage? Particularly a woman scorned? It’s quite easy to dive into debates about the merits of female rage, how we can examine ancient texts with an often more critical or kinder lens as we reflect on the story that unfolds on the stage. But more striking is the lasting power of the emotions captured in Medea, rage, vengeance, and spite. The emotions depicted and beautifully portrayed in 2025 are the same emotions that were originally captured when the play was first written in 431 BC, the same emotions depicted as an opera for the first time in 1797 France. It’s the power of the humanities, the way that prose and storytelling capture the human experience of a woman scorned and the lengths she would go to seek her revenge. The same shock and outrage audiences felt on October 11^th, 2025, are the same feelings audience members experienced in 1797, and in 431 BC. That’s the magic of opera. Other theatric mediums offer testaments and homage to classic tales but operas have an altogether unique quality about that. The blend of storytelling and musicality captivates you, enchants you, and transcends you through time and space with drama tales that still resonate today.

There are only five remaining opportunities to see Medea at the Lyrics Opera in Chicago (20 N Wacker Dr, Chicago, IL 60606): October 14, 17, and 20, at 7 p.m., and matinee performances on October 23 and 26 at 2 p.m. The performance is sung in Italian with easy-to-follow English titles projected above the stage and runs for 2 hours and 45 minutes, including one intermission. Life does move pretty fast, I’d wager those n 431 BC and 1797 thought the same thing. So be sure to stop and look around every once in a while and see this incredible opera before it passes you by. For more information and tickets, visit lyricopera.org/medea or call 312.827.5600.

When an opportunity arose to see a sneak preview of a new musical about President Barack Obama, there was a clash amongst younger generations to see who would get the chance to see it. Though it has been nearly two decades since Barack Hussein Obama was inaugurated into his first term, the allure and awe of the man still resonates to this day. His presidency was a historic event, a pivot point for our nation marked by hope and positivity and grace under pressure. It was no surprise to me that so many writers jumped at the opportunity to see a sneak preview about 44 – The Musical about the former beloved president.

Barack Obama’s election changed history. And as we can clearly see, it also ended racism forever! But 44 is the story of Obama you won’t read about in the history books…because history books are now banned in most states. But also because 44 is the story of Obama as Joe Biden kinda sorta remembers it.

44 – The Musical is a satirical, unofficial, and unsanctioned musical about the rise and presidency of Barack Obama, told from the perspective of then Vice President Joe Biden. It boasts itself as a satirical political musical featuring over twenty original songs with titles such as “M.F.O.”, “F*&# You Ted Cruz”, and “How Black is Too Black.” In the few musical numbers showcased, it was too difficult to discern whether this musical is anything more than a cash-money grab capitalizing on the nostalgia and love of the former president. The musical numbers performed featured tag lines repeated ad nauseum during Obama’s terms, mother-f*&#ing-Obama, there are no red states or blue states, they even showcased a stereotypically campy comedic relief with a ‘sleepy’ Joe Biden narrating the events.

The musical was written and directed by former Obama campaign staffer Eli Bauman whose wry and acerbic comedic styling was evident even in the brief showcase. From the beautifully shot B-Roll footage and hype videos played, one would think this musical is poised to become the next Broadway darling. There is no denying the talent of the actors and singers, belting out beautiful riffs and runs that tickle your brain, but there doesn’t seem to be much substance for them to work with.

44 – The Musical strikes me as a satirical farce written with good intentions but lacking depth and meaning. Stereotypes seem to abound in the musical, and it appears to be banking on Chicagoans' love and admiration for Barack Obama to draw people through the doors of the Studebaker Theatre. It’s tough to say how the musical will be received in the competitive Chicago Theatre scene. There’s no shortage of talented writers in the Windy City, shows that start on time, and plays and musicals that leave you wanting more. It’s not clear whether 44 – The Musical will be a one-term or two-term play, but it’s safe to say it hopes for the best. 44 – The Musical will be playing at The Studebaker Theatre (410 South Michigan Avenue Fine Arts Building, Chicago, IL) in a limited run from August 23-September 21, 2025. Tickets are available at www.44theobamamusical.com/tickets.

Do we ever really know what someone is going through? We devour what people create, savoring the beauty in their art; we read the words they write, feel the emotions they convey, listen to the music they play, but do we really know what is just beneath the surface? One is left asking this question after viewing the masterpiece that is Twisted Melodies now playing at Northlight Theatre.

Flashback to 1979, when singer and composer Donny Hathaway was a soul music icon, known for R&B hits and his duets with Roberta Flack. Twisted Melodies is a mesmerizing one-man show that immerses us in a day with the brilliant artist, who seeks solace in the music that has always been his salvation. Powerful renditions of songs like “More Than You’ll Ever Know,” “The Ghetto,” and “The Closer I Get to You,” illuminate the enduring power of this talent. Torn between inspiration and his ongoing inner struggle, Hathaway grapples with his life in a gripping performance by Kelvin Roston Jr.

Unlike jukebox musicals that celebrate the life and music of the artist it portrays (think Jersey Boys about the Four Seasons or Just In Time about Bobby Darin), Twisted Melodies offers a new approach to viewing Hathaway’s life and career. We’re with Donny as he isolates in a hotel room, recording music. We learn about his life through captivating stories told from the first-person perspective. We hear his music sung by Hathaway as he recalls the people or events in his life that inspired the songs. We experience, even momentarily, what Donny must have experienced in his life, living with schizophrenia with visual distortions and haunting voices. The first-person storytelling of Hathaway’s life reveals the man behind the artist we know, his personality, his solace, and his demons. The play is not only an homage to the singer-songwriter’s life. “Twisted Melodies is a labor of love,” says playwright and performer Kelvin Roston Jr. “It’s much more than a solo jukebox musical. I chose Donny Hathaway as my muse for his amazing music and musicianship, yes, but also because of his struggle with paranoid schizophrenia. We generally ignore, make excuses for, hide, or even make fun of those dealing with mental illness. Donny Hathaway left an incredible amount of himself and his struggles in the lyrics he wrote, the notes he played, and the tones he bent and swelled with as he sang.”

Twisted Melodies perfectly captures the beauty and struggle of the late artist, and Roston Jr. belts Hathaway’s ballads with such reverence and respect, creating beautiful harmonies and scales that tickle your brain as beautifully as Roston Jr. tickles the ivory, playing throughout the one-man show. Roston Jr.’s tones and range capture the fire and the fury of Hathaway’s genius, challenging the audience to see beyond the notes and see what the artist was going through on that fateful night in 1979. Donny Hathaway tragically passed away at only 33 years old in a rumored solo exit performance of his own. The Chicago-born artist left behind a legacy that influenced or inspired dozens of modern-day artists, including Elton John and Amy Winehouse. Hathaway was even named the 49^th-greatest singer of all time in a 2010 list published by Rolling Stone Magazine.

It's tragic how we often don’t know what someone is going through until after the person is no longer with us, particularly when it comes to something like mental health. But what a blessing it is to know that a story like Twisted Melodies can help to remind us that we’re all going through something. Like Donny Hathaway, we can find our solace, our stories, and ourselves in the things we create, using our art to help others understand what we are going through. Twisted Melodies runs through August 10^th at Northlight Theatre (9501 Skokie Blvd, Skokie). Tickets for Twisted Melodies are available at www.northlight.org