Displaying items by tag: chicago theatre

Marriott Theatre’s Heartbreak Hotel takes on the tricky task of charting Elvis Presley’s early ascent, walking the line between the mythic figure we think we know and the unpolished young man still figuring out who he was becoming. What emerges is a brisk, music‑driven portrait that leans into the volatility of those formative years - the industry pressures that boxed him in, the personal crossroads that pushed him forward, and the creative sparks that hinted at the cultural earthquake to come. It’s a show less interested in polishing the legend than in capturing the restless drive of a talent on the verge of rewriting American music.

Heartbreak Hotel traces Elvis Presley’s early rise with a pace that stays brisk without ever feeling hurried, using a clever device: a ’68 Comeback‑era Elvis looking back on his younger selves. At times the man, the teen, and the 11‑year‑old boy share the stage simultaneously - singing, reminiscing, harmonizing - embodying a life moving faster than any one version of him can fully grasp. The musical follows Elvis from the tentative spark of his Sun Studio sessions into the glare of national attention, tracing how each new opportunity brings both momentum and complication. Producers, handlers, and well‑meaning advisors orbit him constantly, each with a different vision of who he should become, and the show uses those interactions to underline just how precarious his initial ascent really was.

As the demands of fame tighten around him, the story frames Elvis’s evolution as a series of choices - some instinctive, some imposed, all shaping the performer he’s still learning to be. Rather than digging for psychological depth, the plot focuses on the push‑and‑pull between artistic hunger and commercial pressure, capturing the uneasy transition from raw talent to cultural commodity. It’s a portrait of a young man standing at the edge of a seismic career, long before the iconography calcifies and the legend overtakes the life.

At the center of Heartbreak Hotel is Tyler Hanes playing Elvis Presley, who carries the show with a mix of youthful swagger and genuine vulnerability. His performance hinges not just on vocal accuracy but on capturing the restless, slightly bewildered energy of a young man being swept into stardom. His renditions of “Blue Suede Shoes” and “Heartbreak Hotel” land with the right mix of polish and rawness, and his quieter moments - particularly the early Sun Studio sequences and those paired with Priscilla - give the production its emotional grounding.

The show’s Colonel Tom Parker, portrayed by Rob Lindley, is the necessary counterweight: charming, calculating, and always two steps ahead. Lindley brings a slick, almost Vaudevillian charisma that keeps the character from slipping into caricature (although Parker may have been a caricature of himself anyway). His scenes pop with tension, especially in numbers where he orchestrates Elvis’s next move with a smile that never quite reaches his eyes.

Tyler Hanes as Elvis Presley (center) with ensemble in Heartbreak Hotel at Marriott Theatre.

The Sun Studio ensemble - the musicians, producers, and collaborators - provide some of the production’s most engaging textures. Jackson Evans, as Sam Phillips, is heavily featured in the first act and delivers one of the show’s standout performances, offering a steady, clear‑eyed presence that anchors the opening chapters with real artistic purpose. The play digs into Phillips’s instinct for raw talent - his uncanny ability to spot greatness beforehand - and makes clear that his relentless championing of Elvis is what first carried the young singer’s sound across Memphis and into the broader South. His work with the band digs deep and gives us an idea of Phillips’s impact in shaping a new kind of rock ‘n’ roll sound. Their group numbers in the studio, including “That’s All Right,” have an infectious looseness that contrasts sharply with the more commercialized performances later in the show.

The supporting cast adds essential color. Colton Sims offers a sharp, unaffected turn as Teen Elvis, capturing the raw spark before the polish sets in, and Charles Adler Bischoof, as young Elvis, brings a bright, unguarded innocence that reminds the audience just how early the legend began.

Elizabeth Telford lends Gladys Presley a quiet emotional weight, centering the story whenever she’s onstage. Anna Louise Bramlett brings an earnest warmth to Dixie, while Amanda Walker gives Priscilla a steady, grounded presence that subtly deepens the story.

In one of Heartbreak’s most exciting moments, Alexandra Palkovic takes control of the stage delivering a sleek, charismatic jolt as Ann-Margret, hinting at the whirlwind to come. Palkovic dances with real fire, echoing Ann‑Margret’s signature style with crisp precision and an infectious burst of energy. Palkovic later joins Hanes in one of the most touching moments when the two perform a beautiful rendition together of “You’re the Boss.” The addition of a full Ann‑Margret song‑and‑dance number feels especially meaningful, since her on‑screen chemistry with Elvis has always struck me as one of the high points of his physical and emotional vitality.  

Tyler Hanes as Elvis Presley and Alexandra Palkovic as Ann-Margret.

Karl Hamilton gives Vernon Presley a quiet, understated presence, and Naiqui Macabroad stands out in his multi‑role track - Johnny Bragg, Chuck, Jackie Brenston, and the producer for both Steve Allen and Ed Sullivan - slipping between characters with crisp versatility and welcome bursts of personality. Fredrick Webb Jr. also makes a strong impression in multiple roles, notably as Roy Brown, Otis Redding, Fats Domino, and throughout the ensemble.

Going back to the musicians, the live band is one of the show’s more memorable assets. With Jake Busse as Bill Black, Zac Richey as Scotty Moore, and Trevor Lindley Craft as Ronnie (pre-DJ Fontana days) forming the tight onstage trio, the musicians anchor the production with a sound that feels both authentic and freshly charged. Lindley Craft doubles as Frank Sinatra. He and Hanes deliver one of the evening’s highlights as they recreate the famous duet from Elvis’s post‑Army appearance on The Frank Sinatra Show - a stylish medley of “Love Me Tender” and “Witchcraft” that lands with effortless charm.

Melanie Brezil also brings a radiant spark to Sister Rosetta Tharpe, delivering her featured moment with bright, joyful command on both vocals and guitar.  

Together, the band’s instrumental work and the ensemble’s rich harmonies elevate the musical landscape. A mid‑show gospel sequence of “Peace in the Valley” – another one of this staging’s big moments - showcases the ensemble’s vocal power and reminds the audience of the musical traditions that shaped Presley long before fame did.

Marriott’s in‑the‑round setup gives Heartbreak Hotel an expansive energy, with action unfolding on all sides. The cast’s aisle work draws the audience in, creating a surprisingly immersive sense of scale, and the smart use of media and projections amplifies that impact even further. A staging in this intimate space gives the storytelling room to gather real thrust. That quality becomes especially clear as the sequences build toward the emotional high point, when Elvis finally sheds the cookie‑cutter movie image he’d long outgrown and reclaims his artistry in the ’68 Comeback Special, reestablishing his place as the King of Rock ’n’ Roll. 

I’ve always been drawn to stories orbiting Elvis Presley, and Heartbreak Hotel earns its place among them by honoring the legend without embalming him in nostalgia. Elvis wasn’t just a chart‑topper; he was a cultural accelerant, the artist who fused gospel, blues, country, and rhythm‑and‑blues into a sound that detonated across America and permanently rewired its musical DNA. His influence stretched far beyond the stage - reshaping fashion, performance style, youth identity, and the very idea of what a pop star could be. Productions like this one matter because they keep that seismic legacy in motion, passing it from one generation to the next not as a museum relic, but as a living, breathing force that still shapes the music we hear today.

When referring to rock 'n' roll, John Lennon said it himself, “Before Elvis, there was nothing.” Heartbreak Hotel echoes that sentiment.

Directed and choreographed by Deidre Goodwin, this musical bears the imprint of an artist who understands how to propel a story without letting the spectacle swallow it. Her direction shapes the evening with a steady, purposeful rhythm, keeping the focus tight even as the musical numbers expand outward. Goodwin’s fantastic choreography blends period flavor with a clean, contemporary precision, giving the show a kinetic pulse that feels both rooted in its era and alive in the present. It’s her sense of balance - between nostalgia and freshness, between narrative drive and musical release - that ultimately gives the production its lift.

Elvis devotees will find plenty to appreciate in Heartbreak Hotel, which treats the King’s formative years and artistic rebirth with genuine affection and a clear understanding of his musical legacy. But the show’s appeal stretches well beyond Presley fandom; anyone who loves American music - from gospel and blues to early rock and soul - will recognize the joy in hearing these sounds brought to life by a superbly talented cast and band. Heartbreak Hotel runs through June 2nd at Marriott Theatre and is an exciting musical experience well worth attending. 

For tickets and/or more show information, click here. 

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

Sustaining legacy is no simple task, especially when considering the arts.  How do you preserve continuity of spirit while simultaneously establishing artistic harmony with the past, present and future?  Knowledge, skill and vision at the top are always critical.  But there are other intangibles that ultimately determine long term success.

When Robert Battle unexpectedly announced he could no longer act as artistic director for Alvin Ailey American Dance Theater in 2023 for health reasons, one of the most accomplished and revered dance companies in the United States began a search to fill a pair of epic shoes. Since its inception in 1958, nearly 70 years ago, the company has only had three artistic directors, Mr. Ailey himself, his designated successor and former principal Ailey dancer, Judith Jamison, and Mr. Battle whose initial association with the Ailey company was that of a guest choreographer. He’d go on to distinguish himself as a master in his field.

Late in 2024, Alvin Ailey Dance Theater chose Alicia Graf Mack, at the time director of the dance division at Juilliard, to become its fourth artistic director.  She began her tenure as Ailey’s new artistic director in July last year. 

Mack’s background and credentials are all exemplary and on their own portend a fruitful stewardship.  Born in California and raised in Columbia Maryland, her parents, one Jewish the other African-American, were socially engaged academics who encouraged their children’s creative interests.  Mack trained in ballet and by 17 was accepted into Dance Theater of Harlem where, at nearly 6’ tall and willowy, her height and grace contributed to building her celebrity.  Consequential injuries necessitated that she quit dance, leading her to acquire a History degree at Columbia University. 

After finishing Columbia, Mack returned to the Dance Theater of Harlem where the company’s financial difficulties made her homecoming brief. Applying to the American Ballet Theater and being rejected because of her height, she approached the Ailey company where she was not only accepted into the company, but she was also “embraced” in her totality. 

Artistic Director Alicia Graf Mack. Photo by Andrew Eccles.

Her initial time with Ailey, from 2005 and 2008, allowed Mack to explore and hone other dance styles more deeply and to intellectually mature as a dancer.  After leaving the company to obtain a degree in non-profit management at Washington University in St. Louis, she returned to Ailey in 2011 where she enjoyed notable success as one of its premier dancers until 2014.   Mack then redirected her career and devoted it to education.

At a luncheon held in her honor at Chicago’s Auditorium Theater earlier this year, Mack talked about the people and experiences that led her from being an aspiring teenage dance professional to heading one of the world’s leading dance organizations. As she recounted her past, the emotional intelligence and natural humility she’s noted for were readily apparent.  In her remarks, the new artistic director recognized the wealth of experience, knowledge and talent resident in the Ailey staff and stated she would be relying on those resources to help her fulfill her mission.  She also credited the mentorship she received from dance titans, including Ms. Jamison, pioneering Black ballerina Lorraine Graves and the legendary Carmen de Lavallade.  The advice and counsel they all shared will prove valuable assets for the future.

Just as she balanced the need to adapt to tomorrow while respecting heritage at Juilliard, Mack addressed doing much the same in her new role with Ailey.  Not only is she mindful in honoring the “Ailey aesthetic”, but she also shared her interest in bringing in new choreographic voices to complement, expand and enhance the principles and values Mr. Ailey displayed in his work and that of the choreographers he admired.

Providing avenues for dancers to achieve fulfillment in their craft is also central to Mack’s mission.  One she’s shown to advance through an ethos of affirmation. 

As the climax to the Auditorium’s 2025-2026 Celebrating Women in Dance season later this month, the Alvin Ailey Dance Theater engagement at the theater is a welcome to Ms. Mack.  The three-day run will see two programs performed.  In addition to Alvin Ailey’s classic Revelations and an excerpt from Judith Jamison’s 2005 Reminiscin’, the remaining five dances are contemporary creations of pioneering luminaries in choreography.  All five works saw their world premieres in 2025.

Promethean Theatre Ensemble has announced it will perform the Lewis Galantiere adaptation of Jean Anouilh's ANTIGONE, from May 31 through June 28 at the Den Theatre. Anouilh's play, which premiered in Nazi-occupied Paris in 1944, was itself an adaptation of the Greek play by Sophocles, believed to have been written in 441 BC. In the original myth of Antigone, the heroine defies King Creon's decree forbidding the burial of her brother. In Anouilh's adaptation, Antigone's dilemma is recast as a choice between following one's conscience and moral code versus capitulation to a totalitarian government. The play was a covert symbol of the French Resistance, with Antigone's "No" to Creon mirroring the French refusal to submit to German occupation. Galantiere's adaptation of Anouilh's text, which premiered on Broadway in 1946 replaced Anouilh's formal French with accessible prose that frequently uses American vernacular and has become the preferred version of ANTIGONE for contemporary performances. It also lightly shifted the tone to make the parallels to WWII more explicit for American audiences who hadn't lived through the occupation. This version employs relatable characters, unexpected humor, and accessible yet poetic language. 

Promethean's modern dress production, set in present times in a city very much like ours, will be directed by ensemble member Elaine Carlson, whose many roles with Promethean include Eleanor in THE LION IN WINTER, and the title roles in THE MADWOMAN OF CHAILLOT and MRS. WARREN'S PRFOESSION. ANTIGONE will be performed from May 31 – June 27 at The Den Theatre, 1331 N. Milwaukee Avenue in Chicago.  The production will play through Saturday, June 27.

Carlson says,  "the theme of Sophocles' drama – choosing what is right over what is expedient - is timeless, but Galantiere's adaptation puts it into a setting that makes it even more immediate.  Maybe this time Antigone's courage will be contagious."
 
Carlson's cast will feature Promethean Ensemble members Heather Dennis as Antigone, Artistic Director Jared Dennis as Creon, Meghann Tabor as Ismene, Joshua Servantez as Haemon, Gunner Bradley as First Guard, Brendan Hutt as Second Guard, and Christina Renee Jones as the Chorus. The cast also includes marssie Mencotti (nurse), Gavin Blayne (Third Guard/ Messenger), Anthony J. Harris (Page), and Alex George (Eurydice). Understudies are Alex George (u/s Chorus), Anna Rose Steinmeyer (Antigone), Chris Lysy (Creon), Layke Fowler (u/s Haemon), Dame Grant (u/s Guards/Messenger), and Jennifer Mohr (u/s Ismene/Nurse/Eurydice/Page).

The ANTIGONE design team includes Trevor Dotson (Scenic Designer), Rachel M. Sypniewski (Costume Designer), Stefanie Senior (Sound Designer), RobbyMoe Reeves (Lighting Designer), Maureen Yasko (Violence and Intimacy Designer), and Tristan Brandon* (Props Designer). Also on the production team are Hayley Rice (Assistant Director), Alexa Berkowitz* (Production Manager), Esau Andaleon (Stage Manager), and Jeremiah Barr* (Technical Director).

• Indicates Promethean Theatre Ensemble member.

ANTIGONE
Written by Jean Anouilh, Adapted by Lewis Galantiere
Directed by Elaine Carlson
May 31 – June 27, 2026
Previews Sunday May 31 at 7 pm and Monday, June 1 at 8 pm
Regular Run: Thursdays – Saturdays at 8 pm, Sundays at 3 pm. Additional matinees on Saturdays June 13 and 20 at 3 pm
The Den Theatre, 1331 N. Milwaukee Ave., Chicago 60622
Ticket Prices: $35 general, $25 students and seniors
For tickets, visit https://www.prometheantheatre.org/project/antigone/ or The Den Theatre Box Office, 773-697-3830.

Contemporary adaptation of Jean Anouilh's poetic drama of a woman forced to choose between following her moral compass and obedience to the laws of her rulers. First produced under Nazi censorship in 1944 Paris, Anouilh's ANTIGONE explores the conflict between individual conscience and political expediency. Then as now, "going along to get along" wasn't tragedy from ancient history - it was personal tragedy with real world consequences.

After receiving six Jeff Award Nominations in 2025, The Impostors Theatre Company (ITC) returns this Spring with the highly anticipated world premiere of Static-Head – a sci-fi thriller written by critically acclaimed playwright Ryan Stevens (The Last Living Gun) and directed by ITC Artistic Director Stefan Roseen. Static-Head is a cautionary tale about the internet, AI, and the people it uses. Static-Head runs from April 17 to May 2, 2026 at ITC's resident home The Den Theatre, 1331 N Milwaukee Ave, Chicago, IL 60622. 

Sensor-E is the hit new social media app, able to simulate real-life sensations so you can touch, taste, and smell everything you see on your screen. At the prestigious Osman-Haskill University of Technology, where the app was first created, strange things are happening on Sensor-E: Aimee, mourning the loss of her twin sister, uncovers a string of disappearances targeting her classmates. Blair, a fame-hungry would-be influencer, is enlisted into a vast conspiracy concerning school leadership. Paige, relegated to her dorm room due to a health issue that keeps her isolated, is haunted by a strange digital ghost that might hold the key to understanding her condition.

As they struggle to navigate these mysteries, the three students’ paths cross. Soon enough, their use of Sensor-E threatens to permanently blur the line between reality and simulation. The school they attend is not what it once seemed, and the world they know becomes weirder and more dangerous than they could ever imagine. When we can approximate reality, how do we distinguish the real thing?

A sci-fi thriller about the internet and the people it uses, Static-Head renders a cautionary tale against the existent rise of AI and virtual realities.

The cast of Static-Head features ITC ensemble members Jaclyn Jensen as Dr. Priscilla Osman,

Courtney Marie as Dr. Eliza Babbage, and Keaton Stewart as .EXE, with Eliana Deckner-Glick as Aimee,

Kati Yau as Paige, Bryce Lederer as Blair, William Delforge as Ben, Cayla L. Jones as Dorothy,

and Lexy Hope Weixel as //BAD-GATEWAY//.

Following Static-Head, ITC’s Seventh Season will conclude in June with Footholds Vol. 7, an anthology play written by the community and directed by ITC Executive Director Rachel Borgo.

About the Artists

Ryan Stevens (Playwright) is a New York-based playwright and director. They received an MA in Theatre from USC and an MFA in Playwriting from UCLA. They served as the Playwriting Fellow at Emory University from 2023 to 2025. They are beyond thrilled to get to work with The Impostors again for Static-Head's premiere after previously getting the honor to work with them on 2023's The Last Living Gun. Ryan’s work has also been produced by Astoria New Play Festival, Silver Spring Stage, Inkwell Theatre, St. Croix Falls Festival Theatre, Queen City Theatre, New American Theatre, Whiskey Radio Hour, Theatre Viscera, Festival D’Avignon, Broken Slate Productions, The Plagiarists Chicago, Corn Productions, Seoul Players, and Theatre Above the Law, among others.

Stefan Roseen (Director & Sound Designer) is a Chicago-based director, designer, and playwright, and the artistic director of The Impostors Theatre Company (ITC). He most recently directed ITC’s critically acclaimed and Jeff Award–nominated Helena & Hermia in the Enamored Odyssey and Pilot Island & Her Keepers. Additional directing credits include Beyond the Garden Gate; The Last Living Gun; ITC’s Jeff Award–nominated Miranda: A War-Torn Fable; Windwalkers; the Jeff Award–nominated Hertha Nova; Summer & Smoke; Tippy: Stories from the River; Caged: An Allegory; The Wood; Art; and The Terrible Tragedy of Peter Pan. His direction on the short play The Altercation in the Underworld won “Best Of” at the MadKap Productions Short Play Festival. A three-time Jeff Award–nominated artist, Stefan has been recognized for his direction of Helena & Hermia (...) and Hertha Nova, as well as for Artistic Specialty (Sound Design) for Pilot Island & Her Keepers. All three productions were also nominated for Best Production (Short Run). By day, Stefan is an educator, teaching Performance Art and Fine Art. Recent design credits include sound design for Rising Water and Big Time Toppers (Theatre L’Acadie); as well as scenic design for 7 Minutes to Live, Eurydice, A Doll’s House, 25/25, Occidental Express, the Jeff Recommended They, and the Jeff Award–nominated The Resistible Rise of Arturo Ui (Trap Door Theatre).

Fact Sheet | Static-Head

Press Photos for Static-Head will be available the morning of Friday, April 17th. Poster and cast photo attached.

Parking and Transportation:
The Den Theatre is located in Wicker Park on Milwaukee Avenue. There is limited street parking available and The Den Theatre does not currently have parking or valet.

ITC recommends the usage of the ParkChicago and SpotHero apps. Metered parking is available on Milwaukee Avenue and surrounding side streets. Pay boxes are enforced from 8:00 A.M. – 10:00 P.M. on Milwaukee Avenue and from 8:00 A.M. – 6:00 P.M. on side streets. Pay boxes accept quarters and credit cards and can be fed up to two or three hours, depending on the location.

The theater is easily accessible via the Blue Line to Division or Damen stops and by bus from #56 (Milwaukee), #70 (Division), #50 (Damen), or #72 (North).

About The Impostors Theatre Company

The Impostors Theatre Company stages stories at the crossroads of retrospect and innovation, where the fantastic collides with the everyday. In order to better our discourse, our relationships, and ourselves, The Impostors aim to inspire an urgency for the arts by embracing the art of pretend.

In 2025-2026, The Impostors explore the past, the near future, and the bridge between. Season Seven reanimates an ancient mythological character, untangles the threads binding us to virtual realities, and stages our favorite anthology series in a new way. The action will play out on the various crossroads that capture our fascination year after year—growth and stasis, truth and deception, life and death.

The Impostors Theatre Company is a 501(c)3 non-profit arts service organization. For more information about The Impostors Theatre Company, and donating to our mission, we invite you to visit theimpostorstheatre.com. Follow ITC on facebook.com/theimpostorstheatre and on instagram.com/impostorstheatre.

The Goodman's Centennial 2025/2026 Season continues with the Chicago premiere of Covenant, Chicagoland native playwright York Walker's "striking Southern gothic work" (New York Times) hailed as "blackout-and-blood-curdling-scream deliciousness" (New York Magazine). BOLD Artistic Producer Malkia Stampley is set to direct a cast including Debo Balogun (graveyard shift), Ashli Rene Funches (A Red Orchid Theatre's IS GOD IS), Jaeda LaVonne (Chicago Shakespeare Theatre's Twelfth Night), Felicia Oduh (The Nacirema Society) and Anji White (Fat Ham). Understudies will be announced at a later date. Covenant appears May 2 through May 31 (opening night is May 11) in the 350-seat flexible Owen Theatre. For tickets ($24 - $64; on sale Feb. 20), visit the Box Office (170 N. Dearborn), call 312.443.3800 or purchase online at GoodmanTheatre.org/Covenant. The Goodman is grateful for the support of BOLD Ventures (Production Sponsor), Tabet, DiVito & Rothstein (Corporate Supporter) and The Elizabeth Morse Charitable Trust (Lead Sponsor of IDEAA Programming).

"Covenant is about young love, the secrets we hold and the role faith plays when we are haunted by our choices," said director Malkia Stampley, who most recently directed a 2026 New Stages Festival reading and the critically acclaimed 48th annual A Christmas Carol. "While I personally connect with the religious themes in the story as a pastor's daughter, many will connect with the folklore nature of this story and the thrilling and chilling ride this story takes you on. The characters York built in Covenant will sweep away audiences and my goal is to tell this story honestly, organically, full of heart and grit."

Expect one devilish twist after another in Covenant, an "undeniably spooky (and) absolutely enjoyable" (TheaterMania) mythic and suspenseful new play. Johnny "Honeycomb" James (Debo Balogun) left his small Georgia town a struggling guitarist—and returned a blues star, to the surprise of sisters Violet (Felicia Oduh) and Avery (Jaeda LaVonne), their mother (Anji White) and their best friend Ruthie (Ashli Rene Funches). As rumors of a darker deal abound, it becomes clear that he's not the only one with a secret...or seeking salvation. This tense thriller explores the power of belief and the thin line between rumor and truth. Covenant premiered at Roundabout Theatre Company in 2023 to critical acclaim, earning a New York Times Critics Pick.

York Walker is an award-winning playwright and screenwriter from Chicago, Illinois. He is the inaugural recipient of both the Vineyard Theatre's Colman Domingo Award and the John Singleton Screenwriting Award. His work includes Holcomb & Hart (Victory Garden's New Plays For A New Year Festival), The Séance (Winner of the John Singleton Screenwriting Competition, 48 Hours... in Harlem), Covenant (Colman Domingo Award, Roundabout Underground, South Coast Repertory's Pacific Playwrights Festival, Fire This Time Festival) and Soul Records (workshops with Manhattan Theatre Club, the Vineyard Theatre and Roundabout Theatre Company). York is currently developing new works with Roundabout Theatre Company, South Coast Repertory Theatre, The Geffen Playhouse and Goodman Theatre. His contributions extend to the realm of television, having served as Story Editor and Staff Writer for two seasons on Dick Wolf's hit series, FBI. York is a graduate of the MFA Acting program from the American Conservatory Theatre.

Malkia Stampley is a twice Jeff-nominated director from Milwaukee and The Goodman's BOLD Artistic Producer. Her Goodman Theatre directing credits include A Christmas Carol, Primary Trust, In My Granny's Garden and New Stages Festival's Cephianne's Reflection and This Part of His Life Blooms. Select directing credits: No Such Thing (Rivendell); Girls on Sand (Northern Sky); Nina Simone: Four Women (Milwaukee Rep); The October Storm (Raven); Boulevard of Bold Dreams (TimeLine); STEW (Shattered Globe); Black Nativity (Black Arts MKE); The Gift of the Magi (American Players); Five Guys Named Moe (Skylight Music); Lady Day at Emerson's Bar and Grille (Farmers Alley); Exit Strategy (Northwestern).

Company of Covenant (in alphabetical order)

By York Walker

Directed by Malkia Stampley

Debo Balogun...Johnny James 
Ashli Rene Funches...Ruthie 
Jaeda LaVonne...Avery 
Felicia Oduh...Violet 
Anji White...Mama

CREATIVE TEAM

Costume Designer...Evelyn Danner 
Set Designer...Ryan Emens 
Lighting Designer...Gina Patterson 
Sound Designer...Dee Etti-Williams 
Music Director and Composer...Mike Przygoda 
Voice and Dialect Coach...Shadana Patterson 
Associate Director and Movement Director...Tor Campbell 
Illusion Consultants...Benjamin Barnes and Trent James 
Intimacy...Jyreika Guest 
Line Producer...Lena Romano

Original Casting by Trent Stork. Additional Casting by Lauren Port, CSA. Tyra Bullock and Lena Romano are the Dramaturgs.

ENHANCED AND ACCESSIBLE PERFORMANCES

Visit GoodmanTheatre.org/Access for more information about The Goodman's accessibility efforts.

ASL-Interpreted...May 22  at 7:30pm – An ASL interpreter signs the action/text as played. 
Audio-Described...May 23 at 2pm; Touch Tour; 12:30pm – Action audibly enhanced via headset. 
Spanish-Subtitled...May 23 at 7:30pm – Spanish-translated dialogue via LED sign.
Open-Captioned...May 24 at 2pm – LED sign presents dialogue in sync with the performance.

ABOUT THE GOODMAN

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

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

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

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

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

Marsha Cruzan is Chair of the Goodman Theatre Board of Trustees; Diane Landgren is Women's Board President; and Kelli Garcia is president of the Scenemakers Board for Young Professionals. 

Oil Lamp Theater, currently presenting the highly recommended political comedy The Outsider through February 22,  is proud to announce the cast and creative team for its next production of its 2026 season, Poor Behavior, written by Theresa Rebeck and directed by Lauren Katz, April 10 - May 10, at Oil Lamp Theater, 1723 Glenview Road. The schedule includes two preview performances Friday, April 10 at 7:30 p.m. and Saturday, April 11 at 3 p.m., with an opening performance Saturday, April 11 at 7:30 p.m. The performance schedule is Thursdays and Fridays at 7:30 p.m., Saturdays at 3 and 7:30 p.m. and Sundays at 3 p.m. There will be additional Wednesday performances April 15 at 11 a.m and 3 p.m.; April 22 at 7:30 p.m. (understudy performance); April 29 at 11 a.m. and 3 p.m. and May 6 at 7:30 p.m. Tickets are on sale now for $30 for previews and $55 for the run at OilLampTheater.org.  

A visit from old friends takes an unexpected turn when a bombshell accusation throws niceties out the window. Hospitality turns to havoc. Sanity shatters into shambles. Manners take a backseat as two couples are pushed to their limits during a weekend in the country. Will they be able to pick up the pieces over wine and muffins or will their poor behavior leave them irrevocably broken? Find out in this sharp-witted play by acclaimed playwright Theresa Rebeck. 

The cast of Poor Behavior includes Sam Fain (he/him, Ian); Lauren Paige  (she/her, Maureen); Ksa Curry (she/her, Ella); Jack Morsovillo (he/him, Peter) with understudies Cooper Bohn (he/him, Ian U/S); Cait Kelly (she/they, Maureen U/S); Jaime Nebeker (she/her, Ella U/S) and Adrian Briones (he/him, Peter U/S).

The production team includes Lauren Katz (she/her, director); Connor Windle (she/her, production manager and stage manager); Trenton Jones (he/him, scenic designer); Elly Burke (she/her; properties designer); Danielle Reinhardt (she/her; costume designer); Paige Klopfenstein (she/her, intimacy director); Daniel Friedman (he/him, lighting designer); Alex Trinh (he/him, sound designer); Andy Cahoon (he/him, technical director); Sienna Laurent Choi (she/her, assistant stage manager) and Rose Leisner (she/her, company manager). 

CONTENT ADVISORY: Poor Behavior contains strong language and mature themes including discussions of mental health and suicide.

ABOUT THERESA REBECK, PLAYWRIGHT

Theresa Rebeck is a prolific and widely produced playwright, whose work can be seen and read throughout the United States and abroad. Last season, her fourth Broadway play premiered on Broadway, making Rebeck the most Broadway-produced female playwright of our time. Other Broadway works include Dead Accounts, Seminar and Mauritius. Other notable New York and regional plays include: Seared (MCC), Downstairs (Primary Stages), The Scene, The Water’s Edge, Loose Knit, The Family of Mann and Spike Heels (Second Stage), Bad Dates, The Butterfly Collection and Our House (Playwrights Horizons), The Understudy (Roundabout), View of the Dome (NYTW), What We’re Up Against (Women’s Project), Omnium Gatherum (Pulitzer Prize finalist). As a director, her work has been seen at The Alley Theatre (Houston), the REP Company (Delaware); Dorset Theatre Festival, the Orchard Project and the Folger Theatre. Major film and television projects include “Trouble,” starring Anjelica Huston, Bill Pullman and David Morse (writer and director), “NYPD Blue,” the NBC series “Smash” (creator) and the upcoming female spy thriller “355” (for Jessica Chastain’s production company). As a novelist, Rebeck’s books include Three Girls and Their Brother and I'm Glad About You. Rebeck is the recipient of the William Inge New Voices Playwriting Award, the PEN/Laura Pels Foundation Award, a Lilly Award and more.

ABOUT LAUREN KATZ, DIRECTOR

Lauren Katz is thrilled to be back directing at Oil Lamp. Favorite directing credits include: It’s a Wonderful Life: A Live Radio Play, The Marvelous Wonderettes, Mary's Wedding (Oil Lamp), A Midsummer Night’s Dream and Women of 4G (Babes With Blades), The Prom (Highland Park Players), Tick, Tick… Boom and A Grand Night for Singing (Dunes Summer Theatre), Grease and Legally Blonde the Musical (Beverly Theatre Guild), Hershel and the Hanukkah Goblins (Strawdog) and This is a Chair (Haven). Other collaborations include: About Face Theatre, Goodman Theatre, Steppenwolf Theatre, Victory Gardens Theatre, and Writers Theatre. She is the education + engagement producer at Steppenwolf Theatre.

ABOUT OIL LAMP THEATER

Oil Lamp Theater is a professional nonprofit performing arts organization in Glenview, Illinois, welcoming over 10,000 patrons annually from more than 225 communities—41% from Glenview and others from across the North Shore and Chicago. Since establishing its intimate 60-seat home in downtown Glenview in 2012, Oil Lamp has grown into a cultural beacon, earning recognition as “Best Live Theatre in the North Shore” for four consecutive years.

With more than 70 productions to date, Oil Lamp is known for its dynamic Mainstage season, special events and its resilience during the pandemic, when it innovated with drive-in performances and outdoor productions. Today, the theatre continues to foster connection, broaden horizons and illuminate the human condition through professional theater and year-round programming.

In addition to its productions, Oil Lamp recently expanded with the SPARK CENTER, which offers arts education for all ages with a focus on youth. These process-driven classes inspire a lifelong love of the arts while equipping students with creativity, confidence and critical life skills.

This past September, Oil Lamp launched  Light The Way, a transformative fundraising campaign designed to expand arts education, strengthen essential staff and establish a larger performance venue with the goal of staying in downtown Glenview. Building on its roots as a scrappy storefront, Oil Lamp is evolving into a more robust organization—without losing the intimacy and warmth that define its theater experience. Oil Lamp Theater hopes this announcement inspires excitement throughout the community. Interested community members are invited to learn more by reaching out to the theater, attending the 2025 Gala on October 18 and staying tuned as additional news is shared in the near future. For information or to support the campaign go to OilLampTheater.org/Light-the-Way or reach out to Oil Lamp at This email address is being protected from spambots. You need JavaScript enabled to view it..

Oil Lamp Theater, currently presenting the highly recommended political comedy The Outsider through February 22,  is proud to announce the cast and creative team for its next production of its 2026 season, Poor Behavior, written by Theresa Rebeck and directed by Lauren Katz, April 10 - May 10, at Oil Lamp Theater, 1723 Glenview Road. The schedule includes two preview performances Friday, April 10 at 7:30 p.m. and Saturday, April 11 at 3 p.m., with an opening/press performance Saturday, April 11 at 7:30 p.m. The performance schedule is Thursdays and Fridays at 7:30 p.m., Saturdays at 3 and 7:30 p.m. and Sundays at 3 p.m. There will be additional Wednesday performances April 15 at 11 a.m and 3 p.m.; April 22 at 7:30 p.m. (understudy performance); April 29 at 11 a.m. and 3 p.m. and May 6 at 7:30 p.m. Tickets are on sale now for $30 for previews and $55 for the run at OilLampTheater.org. 

Now in its eighth year, global drag icons and RuPaul’s Drag Race stars BenDeLaCreme and Jinkx Monsoon are back on tour with The Jinkx & DeLa Holiday Show – a hilarious, unhinged, and queer production that pushes the boundaries of the holiday spectacle. The Jinkx & DeLa Holiday Show has touched down in Chicago once again for a limited engagement this time at the storied Chicago Theatre. For one glittering night, the marquee lights up with the names of drag royalty Jinkx Monsoon and BenDeLaCreme, transforming the historic venue into a festive playground of camp, comedy, and holiday magic.

This year’s show – directed, produced, and written by BenDeLaCreme – is structured as a holiday anthology. Each segment spirals into its own brand of festive absurdity: an homage to Freaky Friday, immaculate conception, and hilarious twists on holiday horror a la The Simpsons’ “Treehouse of Horror.” Every story is bigger than the last and more delightfully deranged, featuring Broadway-style musical numbers, both beautiful and creepily extravagant costumes, and innuendo galore. The pace of the night is relentless in the best way possible: each scene seems determined to outdo the last.

While the show returns each year, it’s reborn anew every season. Jinkx Monsoon and BenDeLaCreme craft a completely fresh production - new themes, script, music, choreography, costumes - supported by months of writing and rehearsal. It takes a village of brilliant, authentic artists to pull off such a one-of-a-kind performance that feels both polished and chaotic. The end result is a show that feels handcrafted with love, humor, and both endless glitter and weed.

Fear not - though the production is reinvented from the ground up each year, one beloved constant remains: Hunky the Elf, played with irresistible charm by Gus Lanza. Far from being sidelined, he’s front and center, anchoring the show with his mischievous energy and magnetic stage presence. And he’s not alone. Joining him is a powerhouse dance ensemble—Chloe Albin, Isaiah Brooks, Jace Gonzalez, Jim Kent, Ruby Mimosa, and Derrick Paris—whose precision, athleticism, and sheer joy transform the evening into something far beyond a two-queen comedy showcase. Together, they expand the world of Jinkx and DeLa into a glittering holiday spectacular, complete with dazzling choreography, ensemble-driven spectacle, and the kind of theatrical grandeur that makes the show feel less like a cabaret and more like a full-scale seasonal event. Over the course of the evening, the ensemble shifted seamlessly from jolly to eerie to sultry - and back again - never breaking a sweat. What makes it truly captivating is that each performer brings their own unique flavor to every vignette, ensuring the group’s cohesion never overshadows their individuality.

Of course, at the heart of the chaos is the dynamic duo of Jinkx and DeLa. Their banter is razor sharp, but even in the craziest of moments and wildest twists of plot, the two maintain a warmth and camaraderie that invites their audience into the joke with them.

Even at their most outrageous - and believe me, the outrageousness is abundant - Jinkx and DeLa never lose sight of the heart. They understand that a true holiday show needs more than glitter and gags; it requires a touch of deeper meaning to resonate.

“How do we keep singing and dancing when the horrors persist?” Jinkx asks.

“The horrors are precisely why we must keep singing and dancing,” DeLa answers.

Amid all the silliness and the spectacle, their show is a reminder that queer joy matters. That communal joy matters. That holiday joy matters, and that everyone can find joy in the holidays.

The Jinkx & DeLa Holiday Show is making the yuletide gay with their queer, communal holiday joy across 30 cities throughout the U.S. and Canada until December 30th, offering the perfect blend of camp, chaos, and heart in what is sure to become your new favorite holiday tradition.

For tickets and more information, visit jinkxanddela.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.

Throughout our busy lives we often seek out the new. It is easy to see the allure. Beginnings offer a bit of magic, a clean slate, a chance to start anew. The opportunity brings with it a sense of hope and optimism that maybe this time we’ll be lucky, maybe this time things will change. But there is also just as much magic in endings as there are beginnings, sometimes moreso. The end of a bad relationship, the final day at a toxic job, the final chapter of a good book, the end of a chaotic and disappointing year, endings provide us a rare opportunity beginnings cannot, the opportunity to let it go. And what more fitting way to let it all go and end 2024 than with a bit of magic and a bit of nostalgia with Disney’s Frozen: The Broadway Musical, now playing at Paramount Theatre.

Nominated for a Tony Award for Best Musical, this sparkling Disney fairytale has been reimagined for the stage. The theatrical production of Frozen brings Disney’s beloved animated film to life and fills the stage with winter magic. Set in the magical kingdom of Arendelle, the story follows two royal sisters, Elsa and Anna, as they navigate love, loyalty, and magic. In her struggle to understand her identity, Elsa questions her talents, confusing them for character flaws but ultimately finds strength in her identity and gifts, looking both inward and to those she loves to let it go and be who she was born to be.

Emily Kristen Morris plays Elsa in Paramount Theatre’s Midwest Regional Premiere of Disney’s Frozen the Broadway Musical.

The stage adaptation of the beloved movie brings Disney magic to the stage. The musical has breathtaking scenic designs that transport us to the kingdom of Arendelle, lighting and sound and stage designs that bring magic to life, and an incredible cast of performers to include, but not limited to, Young Anna played by Avelyn Choi, Hans played by Jake DiMaggio Lopez, and Anna played by Beth Stafford Laird. Audiences young and old will feel a sense of nostalgia as the musical is filled with popular songs like “Love Is an Open Door” and “Do You Want to Build a Snowman?” and older audiences will appreciate songs that showcase internal monologues to move the musical forward like “Hans of the Southern Isles” and “I Can’t Lose You,” and all audiences will love the fun musical numbers like “Hygge” and revel at the iconic earworms like “Let It Go.”

It was fitting that the first act of the 2 hour musical ends with “Let It Go.” The audience needed the breather to the climactic beauty of the number helmed by the breathtaking Elsa played by Emily Kristen Morris. The staying power of “Let It Go” lasted long after the curtain calls and final bows. The magic lingered, the message more profound, communicating wordlessly what Director Trent Stork wanted the audience to take away from the performance. “I hope our show gives you the courage to be as bold as Elsa,” says Stork. “I hope you find a renewed sense of bravery from Anna…I hope you remember that love means putting others above yourself.”

Beth Stafford Laird (left) plays Anna and Emily Kristen Morris is Elsa in Paramount Theatre’s Midwest Regional Premiere of Disney’s Frozen the Broadway Musical.

As the year comes to an end, be bold, be courageous, and above all be kind to others and to yourself and let it all go. Good or bad, things inevitably come to an end, a close, a final curtain close. It is not weakness to let something go that no longer serves us or things that are beyond our power to control, it is kindness, and at the heart of it is love. Love yourself and love your neighbors to simply let it go. And if you need a little help to let it go, let Elsa and some incredible theatre magic help you do just that. Frozen: The Broadway Musical is now playing at Paramount Theatre (23 E. Galena Blvd. Aurora, IL) and runs through Jan 19, 2025, tickets are available at https://paramountaurora.com/.