Displaying items by tag: Goodman Theatre

About Face Theatre announces the return of Re/Generation Studio, a weekend of community building, education, and performance to help build the future of queer theater. Re/Generation Studio will be held March 28-30, 2025, with free events at The Alice at Goodman Theatre, 170 N. Dearborn St and About Face Theatre HQ, 1922 W. Irving Park Rd.

All events and workshops are free and open to the public. Re/Generation Studio is recommended for ages 12 and older. Attendees are encouraged to register in advance at aboutfacetheatre.com/regeneration/, or in-person at the events. Early registration is encouraged to help About Face prepare space and food, and some events may reach capacity. See individual event listings below for more details.

Re/Generation Studio 2025 is a powerful expression of the About Face mission to advance LGBTQ+ equity through community building, education, and performance. Through a dynamic series of events, attendees can participate in new play development, dreaming and planning sessions, a wellness circle, intentional meetups and discussions, and other opportunities to connect and learn. 

"Re/Generation Studio was born out of vulnerable, passionate, and hopeful exchanges in the Fall of 2021. The pilot year was organized around a series of Saturday afternoon play readings. One of those plays, Lavender Men, was so well received we decided to move it forward into full production in our 22-23 season. The second time around, the Re/Gen schedule was expanded into a festival format adding workshops and intentional community gatherings. One of the devising sessions led to a new model for developing work and that has been a major focus of our current season. Building on this remarkable trajectory, we are thrilled to introduce our third round of Re/Gen Studio with special thanks to our generous colleagues at The Goodman," comments Artistic Director Megan Carney. "At About Face we are dedicated to ongoing evolution for the field and our culture. Re/Generation Studio is one of those bright spots in our theatre ecology."

About Face first premiered Re/Generation Studio in February 2023. It was envisioned as a space for reconnecting and re-imagining after the social and creative isolation of the pandemic. The first iteration of Re/Generation Studio included five play readings and workshops, featuring a wide variety of playwrights, directors, actors, and audience members. The overwhelmingly positive response to these workshops proved that Chicago's creative communities are eager for a chance to rebuild community bonds and engage in collective dreaming and creating.

The current Re/Generation Studio 2025 schedule follows. Additional events will be announced soon.

New Play Reading Workshop: Phases of the Moon

Written by Bryna Turner

Directed by Keira Fromm

Friday, March 28 at 6:00pm

The Alice at Goodman Theatre, 170 N. Dearborn Street

Before she mastered the art of losing, the poet Elizabeth Bishop was a socialist vegetarian in a peacoat at Vassar College during the Great Depression. Following "Bishie" and her friends over a single lunar cycle during their senior year, Phases of the Moon begins with a ceremony gone awry and asks what's real under all the pretending.

Creative Sound Play for All

A Music and Wellness Workshop with Zahra Baker and Dionne Addai

Saturday, March 29, 2:00pm-2:45pm

The Alice at Goodman Theatre, 170 N. Dearborn Street

Join us for a 45-minute workshop on practicing how to use your voice amidst community. We'll experiment with sounds and learn about the ways that sounds and reverberation can be used for self-soothing and regulation. All ages and experience levels are invited to engage in this workshop and wellness circle.

New Play Reading Workshop: Untitled Queer Romance or The Subject of You

Written by Michael Turrentine

Directed by Catherine Miller

Saturday, March 29 at 3:00pm

The Alice at Goodman Theatre, 170 N. Dearborn Street

Matthew and Pat have met, gone on a few dates, and are awkwardly adorable. Autumn and Talia have been together for years and still have a spark about them. Lyle and Deja are about to embark on a journey neither are ready for. However, while we see Matthew and Pat in the midst of starting their relationship, Autumn and Talia are going from their ending to their beginning. "Untitled Queer Romance" is an exploration of how and why we connect, what differences we choose to highlight over our similarities, and makes us ask the question "Why are we here, together?"

Town Hall for Theater Directors and Makers: What do we need now?

Saturday, March 29, 5:00pm-6:00pm

The Alice at Goodman Theatre, 170 N. Dearborn Street

As our producing landscape evolves and career development paths can feel murky, what support and opportunities do we need in order to grow in our craft? What kinds of community and institutional support would help? Directors and theatre artists of ALL experience levels are welcome − whether you've been directing and creating for years, or maybe you're curious about doing it someday − We want to hear from you! Please join us for this town hall discussion at Re/Gen 2025 to identify ways we can close gaps, share resources, and level up our field to sustain the people paving the way for the future of theatre. LGBTQ+ directors and makers will be centered though everyone is welcome at this Town Hall. About Face plans to organize and uplift our findings to the larger Chicago theatre community to help build the future.

New Play Reading Workshop: An Army of Lovers

Written by R. Eric Thomas

Directed by Mikael Burke

Saturday, March 29 at 6:00pm

The Alice at Goodman Theatre, 170 N. Dearborn Street

Page Freemont, an aging queer activist is invited to the sleek, enclosed campus of a global communications company, by Chuck Dillahunt, an estranged friend from her early days. The company wants to give her an award at their first Pride celebration. She accepts but she does not come in peace. An Army of Lovers is a play about radical acts of existence, corporate culture as an oxymoron, and the freedom to be public.

Theatre for Learning and Liberation

Sunday, March 30 at 2:00pm

The Alice at Goodman Theatre, 170 N. Dearborn Street

Calling all students, teaching artists, organizers, and educators! What makes a space inclusive and affirming? How are you navigating systems to connect in a meaningful way? What's working and what do you need? Let's connect, share resources, and strategize for the moment. This session is a space to share tips, games, and techniques about theatre as a tool for teaching and learning. No matter where you are in your teaching artist, peer educator, mentor, or student journey, we hope you'll come out for this interactive and fun session. Please plan to stick around to participate in About Face Theatre's interactive touring show, Life Out Loud: Voices of Pride starting at 3pm.

Performance and Discussion: Life Out Loud: Voices of Pride

Based on original writing and stories from the archives

Directed by Dionne Addai

Theatrical Consultation by Lexi Saunders

Featuring Haven A.J. Crawley, Sharon Pasia, and Ua Smith

Sunday, March 30 at 3:00pm

The Alice at Goodman Theatre, 170 N. Dearborn Street

Three friends journey through a gallery filled with stories from LGBTQ folks from the past and present. Together we'll look back to move forward, gathering inspiration to inform our current choices, and build confidence in our voices. This interactive play uses monologues and improv to introduce the audience to gender expansive and inclusive vocabulary as well as healthy coping mechanisms and boundary setting.

Life Out Loud: Voices of Pride is one of our current touring programs. Since 1995, About Face has reached thousands of people each year by taking the power of theatre on the road to support personal and organizational growth. We provide touring workshops and performances that combine fun, interactive, and accessible theatre-based activities to increase a sense of belonging, invite brave dialogue, and move individuals and groups toward action. Join us for this session to enjoy some theatre for social change in action!

Trans Workplace Inclusion in 2025

Sunday March 30 at 4:30pm-6:00pm

The Alice at Goodman Theatre, 170 N. Dearborn Street

In light of the current political climate, there have been questions about the state of workplace DEI initiatives and a targeting of the trans community. This 90-minute training is offered as part of the Trans-Inclusive Chicago Campaign from Chicago Therapy Collective and will focus on creating or maintaining practices that build a safe and welcoming workplace for trans employees. This session will explore hiring and workplace best practices, bystander intervention, and individual and institutional allyship. We look forward to seeing you there and collaborating to transform workplaces across our city

READING WORKSHOP ARTIST BIOS

Phases of the Moon Artists:

Bryna Turner (they/them)

Playwright

Bryna Turner is a Brooklyn-based playwright originally from Northern California. Their play At the Wedding had its world premiere at LCT3 at Lincoln Center Theater. It received the Laurie Foundation's Theatre Visions Fund Award, a NY Times Critic's Pick, and was featured in the NYT Best of 2022 "Unforgettable Theatrical Moments" category. Their play Bull in a China Shop also premiered at LCT3 and was a NY Times Critic's Pick. Other plays include Phases of the Moon and How to Separate Your Soul from Your Body (in ten easy steps!).

Keira Fromm (she/her)

Director

Keira is a Chicago-based, Jeff Award-nominated freelance director. She is a proud artistic associate at About Face Theatre where she's directed The Brightest Thing in the World, Bull in a China Shop, Significant Other, Bright Half Life, and A Kid Like Jake. Other recent favorite directing credits include: The Liar, The Moors, and A Doll's House (American Players Theatre), Mary's Wedding (Peninsula Players Theatre), Who's Afraid of Virginia Woolf (Milwaukee Chamber Theatre); The Last Match (Writers Theatre); Top Girls and hang (Remy Bumppo); The Columnist (American Blues Theatre); The How and the Why (TimeLine Theatre), Charles Ives Take Me Home (Strawdog), Broadsword (Gift Theatre), and Fallow (Steep Theatre). Keira received her MFA from DePaul University, is a Lincoln Center Directors Lab alum, and is a member of SDC, the professional directors union.

Untitled Queer Romance or The Subject of You Artists:

Michael Turrentine (he/him)

Playwright

Michael Turrentine is excited to workshop his newest play with About Face. Mainly an actor in the city working at many theaters including The Gift Theater, Steppenwolf, The Lyric Opera, Marriott, Paramount, Drury Lane, and many more, Michael has also written several plays, podcasts, and shorts including Mare (workshopped at Broken Nose Theater) and If Only Once (workshopped at Commission Theatre).

Catherine Miller (they/them)

Director

Catherine has been casting for AFT since Mosque4Mosque, in addition to dramaturging The Brightest Thing in the World and acting as artistic producer of the 2024 Re/Gen Studio. Catherine is the resident casting director for Raven Theatre and American Musical Theatre Project at Northwestern University, in addition to having recently cast productions for Chicago Childrens Theatre, Theatre Wit, Backstitch Arts, and Jackalope Theatre, among many others. Additionally, Catherine has done dramaturgy and gender consulting work for Paramount Theatre, Diversionary Theatre, Cygnet Theatre, and Actors Theatre of Louisville, while also guest lecturing/teaching at Acting Studio Chicago, Northwestern University, The Theatre School, Notre Dame University, Roosevelt University, Columbia College, among others. They were a 2021 3Arts Make A Wave recipient and was featured in American Theatre Magazine's Role Call. They were also on NewCity Magazine's 2020 + 2019 Players: The Fifty People Who Really Perform for Chicago and the Windy City Times' 30 Under 30 list. Catherine has a BFA in Dramaturgy/Criticism from The Theatre School at DePaul. 

An Army of Lovers Artists:

R. Eric Thomas (he/him)

Playwright

R. Eric Thomas is delighted to be working with About Face again after 2018's production of his play Time Is On Our Side. He is the winner of the Barrymore Award for Best New Play, the Dramatists Guild Lanford Wilson Award, and the Lambda Literary Award for LGBTQ Drama. He is also the "Eric" of Asking Eric, the popular nationally syndicated daily advice column found in over 100 newspapers, including the Chicago Tribune, Washington Post, and Los Angeles Times. A proud member of the WGA, he was on the writing staff for the Peabody Award-winning series Dickinson (AppleTV+) and Better Things (FX) and is currently developing multiple projects for film, television, and stage. His books include the national bestseller Here For It, Kings of B'More, a 2023 American Library Association Stonewall Honor Book, and Congratulations, The Best Is Over!, an instant USA Today Bestseller.

Mikael Burke (he/him)

Director

Mikael Burke is a black queer director, deviser, and educator based in Chicago. A Princess Grace Award recipient in Theatre (2017) and Joseph Jefferson Award-winning Director (2024), his recent credits include: Milo Imagines the World by Christian Magby, Christian Albright, & Terry Guest (Rolling World Premiere, Chicago Children's Theatre, Chicago, IL & Children's Theatre Company, Minneapolis, MN); King James by Rajiv Joesph (Forward Theatre, Madison, WI); Oak by Terry Guest (World Premiere, Urbanite Theatre, Sarasota, FL); Othello by William Shakespeare (Theatreworks Colorado Springs, Colorado Springs, CO); Short Shakes! Romeo & Juliet (Chicago Shakespeare Theatre, Chicago, IL); Notes From the Field by Anna Deveare Smith (TimeLine, Chicago, IL); The Salvagers by Harrison David Rivers (World Premiere, Yale Repertory Theatre, New Haven, CT); Tambo & Bones by Dave Harris (Refracted Theatre, Chicago, IL, winner of 8 Joseph Jefferson Awards); Blues For an Alabama Sky by Pearl Cleage (Remy Bumppo, Chicago, IL); Clyde's by Lynn Nottage (Theaterworks Hartford, Hartford, CT, winner of 1 CCC Award); The Magnolia Ballet by Terry Guest (About Face Theatre, Chicago, IL, winner of 2 Joesph Jefferson Awards). Mikael has also been recognized with a Black Theatre Alliance Award for Directing (2022), and as one of New City Magazine's 50 Players of Chicago in 2023 & 2025. Mikael is an Artistic Associate at Remy Bumppo Theatre Company in Chicago, as well as at About Face Theatre, where he previously served as Associate Artistic Director. He's also an adjunct faculty member at DePaul University and Roosevelt University, and a proud member of SDC. MFA Directing, The Theatre School at DePaul University. 

About Face Theatre has a long history of building community and engaging with its audiences through touring shows, educational workshops, and play readings. AFT's education programs first started in 1999 with About Face Youth Theatre. Re/Generation Studio is part of the company's continuing evolution to respond to the needs of its community to advance LGBTQ+ equity.

ABOUT FACE THEATRE advances LGBTQ+ equity through community building, education, and performance. AFT envisions an affirming and equitable world in which all LGBTQ+ individuals are thriving and free from prejudice and discrimination. About Face Theatre is also dedicated to being an intentionally and increasingly anti-racist organization. Due to the intersectionality of our identities, we understand our work to advance LGBTQ+ equity as directly connected to movements for racial justice.

James Ijames' Pulitzer Prize-winning play, Fat Ham, bursts onto the Goodman Theatre stage in a vibrant, deeply resonant co-production with Definition Theatre. Directed with an expert hand by Definition Theatre's Artistic Director Tyrone Phillips, this contemporary reinvention of Hamlet dazzles with humor, heart, and a profound exploration of identity, toxic masculinity, and generational burdens.

Set in a Southern backyard during a family barbecue, Fat Ham transforms Shakespeare's dark tragedy into a poignant yet hilarious meditation on living one's truth. At the center of this narrative is Juicy, played with remarkable nuance and emotional depth by Trumane Alston. Juicy's journey of self-discovery unfolds amid the ghosts—both literal and figurative—of his family's past, grappling with expectations of masculinity and the weight of inherited trauma.

Alston's performance is layered and compelling; his Juicy is introspective and tender yet brimming with an undercurrent of resilience, given time he will lean more into the character arc. His comedic timing is impeccable, delivering Ijames' sharp and incisive dialogue with a natural ease that invites the audience into his emotional world. Juicy's interactions with his spirited best friend Tio, brought to life by the dynamic Victor Musoni, provide some of the play's most humorous and thought-provoking moments. Musoni's portrayal of Tio is electric, offering a counterpoint to Juicy's introspection with boundless energy and unfiltered wisdom.

Ronald Connor impresses in the dual role of Rev and Pap, seamlessly shifting between the domineering ghost of Juicy's father and the charismatic over-sexed preacher presiding over family affairs. His presence looms large, embodying the toxic masculinity that haunts Juicy's world with an intensity that is both chilling and oddly comedic. Opposite him, Anji White as Tedra, Juicy's vivacious mother, delivers a powerhouse performance—balancing maternal warmth with an underlying desperation to escape her own past.

Ireon Roach’s Opal is a revelation, with her confidence simmering to the surface, while Sheldon Brown’s Larry, a stoic Marine grappling with his own identity, offers a poignant reflection of the play’s central themes. And no production would be complete without the powerhouse that is E. Faye Butler, whose presence on stage is nothing short of magical.

The technical elements of the production elevate the storytelling to new heights. Arnel Sancianco’s set design captures the essence of a Southern backyard with rich, lived-in detail, creating a tangible sense of place that enhances the play’s themes of home and heritage. Jos N. Banks’ costume designs are vibrant and character-driven, reflecting each individual's inner conflicts and outward personas. Jason Lynch’s lighting design cleverly shifts from naturalistic warmth to eerie supernatural hues, underscoring the play’s tonal shifts. Meanwhile, Willow James’ sound design punctuates the emotional beats with a careful blend of music and ambient sounds that ground the play’s heightened moments.

Phillips’ direction is both deft and sensitive. He embraces the play's comedic elements without undercutting its emotional weight. He crafts a production that honors Ijames’ bold vision while allowing the cast to fully explore the complexities of their characters.

Fat Ham is a triumph—an innovative, riotously funny, and ultimately moving exploration of what it means to break free from the ghosts of the past and forge an authentic future. Whether you're a Shakespeare purist or someone looking for a fresh, contemporary take on a classic story, this production offers something truly special.

With an outstanding ensemble, sharp direction, and a creative team firing on all cylinders, Fat Ham at Goodman Theatre is a must-see theatrical event that redefines what it means to inherit, to resist, and to thine own self be true.

Highly Recommended
When:    Through March 2
Where:  Goodman Theatre, 170 N. Dearborn St.
Tickets:  $25 - $85
Info:     Goodmantheatre.org/Ham

I arrived at the Goodman Theatre for the opening of its 47^th annual production of A Christmas Carol, directed by Jessica Thebus, like many of us—not really feeling the upcoming holidays. I’m usually a real Pollyanna, trying to put on the happy face. I’m usually Bob Cratchit, the good soldier. I’m Tiny Tim Cratchit, even, throwing around “God bless us, everyone” like it’s tinsel. But not this year. This year, I got to the Goodman feeling like a regular Scrooge. And then I walked into the lobby and the whole thing hit me like a series of middle-of-the-night spectral visits upon a four-poster bed. It changed me.

From the balcony above we were greeted by Benet Academy’s Madrigal Singers, sprinkling down on us carol after carol. Seated next to a large, unlit Christmas tree was William Buchholtz, a Native American flautist and a haunting caroler himself. Thebus, back for her fourth Goodman production of this holiday favorite, addressed the audience, lighting the tree and spreading some cheer—and we hadn’t even found our seats yet.

Once the show began, the sets by Todd Rosenthal transported us back to a different beautiful but bleak era—Dickensian England. All of the trappings one expects of A Christmas Carol are there. Muffed carolers, chestnut peddlers and poultry peddlers, and Scrooge & Marley’s beckoning lending house. There we meet Christopher Donahue’s Ebenezer Scrooge—mutton-chopped and hunched and as unhappy as we expect Scrooge to be. But that darkness, very real and very dark, is constantly counteracted by the radiance of the rest of the cast. Anthony Irons’ Bob Cratchit, cheerful charity collectors played by Penelope Walker and Wai Kim, and Dee Dee Batteast’s ever-loving niece all fend off Scrooge’s glare and gruffness by not even acknowledging his grinchiness—their world, while perhaps less financially happy than Scrooge’s, is a completely separate and better world emotionally than his, down to the vibrant colors of their costumes.

(L-R) Anthony Irons, Christopher Donahue, Ava Rose Doty, Xavier Irons, Henry Lombardo, Isabel Ackerman, Viva Boresi, Tafadzwa Diener and Susaan Jamshidi.

Once back at Scrooge’s house (whose ghastly door knocker made both me and my young daughter jump, even though I knew what was coming) we are surrounded by this bleak world this miserable old miser’s made for himself. It’s drafty and dark and dusty and the perfect place for the jarring arrival of Scrooge’s long-dead partner, Jacob Marley, played by William Dick.

The sights and sounds of Marley’s visit are frightening, even when expected, but they contrast the joy and light spread by the first two spirits who visit Scrooge once Marley departs. Lucky Stiff’s Ghost of Christmas Past is buoyant and bright and over the top—meant to get Scrooge’s attention and ours. The spirit transports us all back in time where our hearts break along with a young Ebenezer Scrooge, portrayed brilliantly by Henry Lombardo, and then leap across the hardwood of Fezziwig’s warehouse-turned-dancehall, only to be broken again by Scrooge’s interaction with his true love played charmingly by Amira Danan. We see all the light Scrooge has lost—and it only makes him and the world he’s created that much darker.

Scrooge’s present is as sad as the present world around him is resolutely jolly, made all the more so by Bri Sudia’s Ghost of Christmas Present. The Cratchit children—Isabel Ackerman, Viva Boresi, Xavier Irons, Tafradzwa Diener, and Ava Rose Doty as Tiny Tim—counter Susaan Jamshidi’s tired and realistic Mrs. Cratchit, just as Batteast does at an evening party attended by other folks who are over it.

While Marley’s ghost was truly terrifying, this Ghost of Christmas Future was less scary and sadder—a dead flower, a faded dowager. But, of course, it’s the specter of a sad future that finally snaps Scrooge out of his life of being a scrooge.

And Donahue’s transformation is very real. We’re all used to a claw-handed and clench-jawed Scrooge from film after film. And we know the change to come—to that of a heel-clicking distributor of charity and cheer. But seeing it happen right there, before our eyes, was as magical an effect as any of the magic on display. A real Christmas miracle.

Now, I have no clue if transforming a Scrooge-like audience was Thebus’ intent (or Dickens’), although I’m sure that’s what both were aiming for. But just like the Victorians who Dickens was addressing, our world today could use some hope and some cheer. And just as Donahue’s Scrooge did onstage, I found myself leaving the Goodman Theatre a little more hopeful and a little more cheerful. I have no idea if you’ll experience the same transformation as I did, but I can promise you that this production of A Christmas Carol, at the Goodman Theatre from now through December 30, will at the very least entertain you and warm your heart this holiday season.

Eboni Booth’s 2024 Pulitzer Prize-winning drama Primary Trust is a deeply introspective and bittersweet exploration of abandonment, routine, and the disorienting reality of sudden change. Directed with sensitivity by Malkia Stampley in her Goodman debut, the production skillfully tells the story of Kenneth, a quiet, unassuming man in his late 30s who has spent his entire life working at a single bookstore. When the shop closes, Kenneth is forced to confront not only the uncertainty of unemployment but also the emotional abandonment that surfaces as his stable, predictable world unravels. The closure of the bookstore, along with his long-standing isolation, pushes Kenneth to face a future where the comforting routines and relationships he once relied on are gone, underscoring the profound effects of abandonment in his life.

Namir Smallwood’s portrayal of Kenneth is truly extraordinary. He captures the character’s quiet vulnerability, depicting a man whose life revolves around the safety of a small, predictable world. Smallwood infuses Kenneth with a subtle yet profound emotional depth, inviting the audience to experience both his fear of change and his intense longing for connection. His interactions, especially with his imaginary friend Bert, reveal Kenneth’s deep-seated need for stability and companionship. Bravo!

Charles Andrew Gardner plays Bert, Kenneth’s imaginary friend and a manifestation of his internal struggles. Gardner’s portrayal is warm and engaging, bringing a sense of playfulness and hope to the otherwise heavy emotional landscape. The dynamic between Smallwood and Gardner is captivating, with Bert acting as both a comforting presence and a stark reminder of Kenneth’s profound isolation. Gardner brings a lightness to the role that underscores the bittersweet nature of Kenneth’s imaginary companionship.

Christiana Clark is impressive in her portrayal of 27 characters, most notably Corrina, a waitress at a bar where Kenneth frequently dines. Clark brings a vibrant energy to her roles, providing Kenneth with moments of real, tangible connection. Her Corrina is kind but grounded, gently pushing Kenneth to consider the world beyond his limited bubble. Clark’s range is showcased as she shifts between 27 (you read that) 27 different personas, offering a fresh perspective to each new character.

Fred Zimmerman also takes on multiple roles, including Kenneth’s boss, Clay, and various other characters. His versatility adds depth and dimension to the play’s supporting cast, each character uniquely distinct and contributing to Kenneth’s journey. Zimmerman’s performance helps fill out the world of Primary Trust with a sense of realism and gentle humor.

Mike Przygoda’s onstage musicianship brings a delicate, almost whimsical layer to the production. His understated presence as the tiki bar musician, playing late 90s top 40 hits, highlights key emotional moments in Kenneth’s journey. The music acts as an emotional echo, amplifying Kenneth’s solitude and brief glimpses of hope.

Lex Liang’s set design perfectly captures the small town of Cranberry, N.Y. where Kenneth lives. He brilliantly makes the town feel even smaller through his presence. Heather Gilbert’s lighting design enhances this with soft, natural tones and hints of color that create a sense of warmth while subtly highlighting a sense of hope.

Malkia Stampley’s direction allows the story to unfold at a measured pace, giving space for the quiet moments to resonate. She lets the production breathe as she skillfully balances the play’s themes of abandonment, loneliness and hope, guiding the audience through Kenneth’s gradual self-realization with care and empathy. The delicate interplay between reality and fantasy is handled with a light touch, allowing the audience to feel immersed in Kenneth’s internal world without losing sight of the story’s emotional core.

Primary Trust is a moving and tender exploration of a fragile man struggling to cope with the sudden upheaval of his carefully structured life. With an outstanding cast and an inspired creative team, the production offers a quiet yet profound reflection on human connection, personal growth, courage, and the essential need for primary trust. Yeah, it’s okay to not be okay.

HIGHLY RECOMMENDED

When: Through Nov. 3

Where: Goodman Theatre 170 N. Dearborn

Tickets: $25 - $40

Infor:www.goodmantheatre.org/show/primary-trust/

“It takes a smart fellow to say he doesn’t know the answer”

Attorney Henry Drummond- 'Inherit the Wind'

The Goodman Theatre's production of "Inherit the Wind," written by the same duo who brought us "Auntie Mame" (Jerome Lawrence and Robert E. Lee), expertly directed by Henry Godinez, offers a powerful and thought-provoking exploration of the clash between religion and science.

National figures Clarence Darrow, a civil liberties attorney and founder of the ACLU, and William Jennings Bryan, a fundamentalist Christian and populist three-time Democratic Presidential candidate, argued the famous Scopes “Monkey” Trial in 1925. 

This fictionalized account, a  legal battle over the teaching of evolution in American public schools, remains as relevant today as when the trial happened  in 1925. It reflects the ongoing "culture wars" playing out today, particularly around education. The play's trial centers on the right to teach evolution, a debate that has echoed into modern fights over what can and should be taught in American schools.

In 2024, school boards and state legislatures are hotbeds of conflict, with debates over the teaching of history, race, gender, and even basic scientific principles. Across the country, there are movements to ban books, restrict what educators can discuss, and roll back curriculums deemed "woke" or politically incorrect. The themes of "Inherit the Wind" – the right to free thought, academic freedom, and the importance of challenging societal norms – feel eerily timely as education becomes a battleground in this year's election.

Alexander Gemignani delivers a tour-de-force performance as Matthew Harrison Brady, the charismatic and deeply religious prosecutor. Gemignani captures Brady's unwavering faith and his conviction that the Bible is the ultimate source of truth. His portrayal is not simply a blowhard preacher clinging to outdated values, but a man genuinely trying to protect his worldview in a rapidly changing society. His performance is both commanding and sympathetic, allowing audiences to understand the man's genuine belief in his cause.

Harry Lennix, as the defense attorney Henry Drummond, is equally impressive. Lennix portrays Drummond as a complex figure, a man who values both reason and compassion. His performance is marked by intelligence, wit, and a deep respect for the law. Lennix's Drummond becomes more than a  cynical intellectual—he is a defender of the individual’s right to think, to question, and to change. In Lennix’s hands  Drummond is a compelling character who challenges audiences to consider the importance of critical thinking and the dangers of censorship, a joy to watch.

The supporting cast is exceptional. Mi Kang delivers a memorable performance as E.K. Hornbeck, a cynical and opportunistic reporter who views the trial as nothing more than a spectacle. Christopher Llewyn Ramirez is heartbreaking as Bertram Cates, the young schoolteacher at the center of a national controversy. Robert Schleifer is poignant as Meeker, a deaf actor who was truly engaging, and Presley Rose Jones is charming and insightful as Melinda, a young woman who falls in love with Cates. The contemporary casting choices make this production particularly moving.

Collette Pollard's set design is a marvel. The set, a myopic bird’s eye view of a small town, a place where everyone knows everyone else and where secrets are hard to keep. Pollard's use of perspective creates a sense of claustrophobia, suggesting that the characters are trapped in a world that is both familiar and stifling. The floor of the courtroom suggesting  uniformity and order

In many ways, Inherit the Wind is a powerful allegory for the struggles America faces in 2024. As the nation heads into a pivotal presidential election, the play’s themes of free thought, the conflict between science and belief, and the influence of populism and religion on politics provide a rich framework for understanding the stakes of this moment in history. The questions it raises—about who controls knowledge, who gets to speak, and how we balance faith with reason—are the very questions that are being asked on debate stages and in polling booths across the country today.

HIGHLY RECOMMENDED

When: Through Oct. 20

Where: Goodman Theatre 170 N. Dearborn

Tickets: $30 - $45

Infor:.goodmantheatre.org/show/inherit-the-wind/

When one first thinks of improvised comedy (and perhaps this is an unfair assumption), the mind immediately jumps to the image of a group of extremely energetic and theatrical actors, running onto the stage and asking the audience for a suggestion. From the start, TJ and Dave’s take on long-form improv brings in a completely different energy. There is no suggestion, and very little theatrics. They seamlessly pick up cues from one another and create a whole world with no external aids. Conversations happen at the pace of real life, not shying away from moments of silence, and characters are (for the most part) grounded in truth. The result is nothing short of hilarious, and very impressive.

The show lasts for 1 hour and 45 minutes, with a 15-minute intermission halfway through. The two actors walk on a bare stage, a black curtain as their background, and briefly introduce themselves. Then, they welcome the singer-songwriter Ike Reilly, who this time brings his son along. The two, with only their guitars and a harmonica, sing their way through the first half of the show, while TJ and Dave prepare backstage. There is a storytelling quality to all of Reilly’s songs, with a lyricism that mixes both poetry and hint of comedy. He and his son sing about a range of topics, from learning to apologize to dating somehow with horrible politics. The beautifully stripped-down musical performance somehow matches the type of improvisational comedy that follows.

After the intermission, TJ and Dave return to the stage, and dispensing with any audience participation, they jump right in. In real time, the two experienced improvisers act out a one-act play that somehow manages to have complete arcs, conflict, relationships, moments of seriousness and drama, some philosophical musings, and a whole lot of jokes and recurring bits. The play I got to witness featured two sons visiting their father at the hospital. There is an immediate tension between the two around who is entitled to more of dad’s money: the oldest son is significantly wealthier, and lives in a town called “Carefree”. The play features characters like the careless father (who ends up donating all the money to a shelter), two inexperienced nurses, a doctor lacking tact, and another one of the patients- all of which rotate between the two actors, who are able to inhabit every character with fascinating detail.
Without relying too much on creating unimaginable situations or out-of-this-world characters, most of the comedy comes from witticisms in the language, and the natural awkwardness of everyday life.

It was incredible to watch and would appeal to both lovers of theater and lovers of improvisational comedy.

Language may be the backbone of human communication, but there’s a lot that happens between the lines. Sanaz Toosi’s 2023 Pulitzer Prize winner ‘English’ explores what we learn when studying a new language. Director Hamid Dehghani assembles an all-Iranian cast for Goodman Theatre’s Chicago debut of this exciting new play.

When American students take foreign languages in high school, it’s more or less travel lessons. There’s a sense that languages are more of an elective than a necessity. And sadly, most adults don’t retain much of their high school French after graduation—even those who travel extensively. The world reinforces the idea that English is the dominant international language and that the West is the dominant culture. Though history would tell us this is a relatively new idea.

Sanaz Toossi’s play takes place entirely in an Iranian classroom in which four students of various ages are learning the notoriously difficult English language. Each character has their own consequential reason for learning English. Marjan (Roxanna Hope Radja) teaches more than sentence structure to her students: Goli (Shadee Vossoughi), Roya (Sahar Bibiyan), Omid (Pej Vahdat) and Elham (Nikki Massoud)—she’s teaching them hope for a better future. However, it begs the question, why can’t there be hope in Iran, or rather in their native tongue, Farsi?

‘English’ premiered in New York in 2022 and went on to win the 2023 Pulitzer Prize. While it’s easy to see how this play could be one of the most produced around the world, ethnically ambiguous casting would be a disservice to the underlying messages of the play. Goodman’s choice to cast Iranian theatre-makers both on and off stage lends a truly authentic feel to this work, and this degree of perfection would be hard to recreate.

Goodman’s production soars thanks in huge part to this incredibly talented cast. While the action of the play does start off a bit slow, the 90-minute play really gets going when we learn why older student Roya is trying to learn English. Her story of emotional and physical distance from her adult son in Canada underscores what a person can lose when they renounce their culture. Sahar Bibiyan gives a devastating performance that cuts to the play’s overall message, empathy.

‘English’ is more complicated for teacher Marjan and her obstinate student Elham. The two characters spar throughout and Toossi makes not only a point about optimism versus pessimism, but also of the competitiveness that can arise between women. Roxanna Hope Radja and Nikki Massoud are well matched as the play’s two anchors.

Ultimately, ‘English’ has a happy ending if you consider whether the main characters get what they want. While the themes of this deeply human play are fraught, at its core it’s a celebration of what it means to be a foreigner. It’s a celebration of one’s home. Though the plot is straight forward, each of the brief scenes leaves an important mark on your heart.

This is a play meant to inspire Western audiences to practice more empathy when we hear an accent we aren’t used to. At the end of the day, everyone is trying their best and when we assume positive intent, it’s amazing how much we can learn even when words don’t come easy.

Through June 16 at Goodman Theatre. 170 N Dearborn St. 312-443-3800

Director Chuck Smith returns to Goodman with another major August Wilson revival–“Joe Turner’s Come and Gone”. This is the second play in Wilson’s 10-play “American Century Cycle”. Goodman produced the first play in the series, “Gem of the Ocean” in 2022 as well as “Two Trains Running” in 2015. Both directed by Chuck Smith. Returning also is A.C. Smith, a staple of any August Wilson production in Chicago.

“Joe Turner’s Come and Gone” takes place in 1911, in Pittsburgh, where most of August Wilson’s work is set. Staged in a boarding house respectably kept by Seth (Dexter Zollicoffer) and Betha (TayLar) Holly, where their regular lodgers Bynum Walker (Tim Rhoze) and Jeremy Furlow (Anthony Flemming III) keep them busy. When a mysterious man and his young daughter arrive looking for a room strange things begin happening.

Wilson has a gift for turning vernacular into poetry. His world-weary characters speak with a sort of casual beauty that rivals Tennessee Williams. That much is never clearer than when Molly Cunningham saunters into the boarding house. Krystel V McNeil captivates as Molly, delivering every line with seductive authority. The purpose of her character is somewhat ambiguous but she’s a welcomed presence nonetheless.

The mysterious man, Herald Loomis, is in search of his wife Martha who is also the mother of this daughter. Bynum and Seth are skeptical but when supernatural things begin happening, a revelation is exposed that calls into question how free the nation really was in the early part of last century.

As always, A.C. Smith’s commanding performance showcases not only a true talent for reinvention, but a deep understanding of August Wilson’s intentions. The chemistry between director Chuck Smith and A.C. Smith is palpable in everything they work on together.

Wilson wrote epics. And this production feels epic. Though there are thematic overlaps in his play cycle, each are distinct masterpieces in themselves. “Joe Turner” like all of Wilson’s plays feels like classic theater. It combines so many elements from lore to magical realism, but on a Goodman-scale backdrop. What a treat it is to see these works produced to impeccable, if not gold standards complete with dream casting.

Thanks to a special relationship between Chuck Smith and August Wilson, Chicago is a mecca for August Wilson’s plays. Between the Court Theater in Hyde Park and Goodman, you’re likely to see all of them if you stay in Chicago long enough. While each has been presented on Broadway at one time or another, his plays aren’t produced nearly as often as they should. Thankfully Denzel Washington is committed to getting each of the plays in the cycle adapted into a film–so far, also to impeccable standards. 

Wilson wrote essential plays that speak for more than just the African American experience, but rather the entire American experience and where it might be headed. Though the last century was full of strife, Wilson finds triumph in every era. His plays certainly don’t shy from the truth, but they always offer a road to hope. 

Through May 19 at Goodman Theatre. 170 N Dearborn. 312-443-3800.

“The Penelopiad” is a zesty romp and very entertaining. With a script by a writer I adore, Margaret Atwood of “The Handmaid's Tale” fame, and based on her novella by the same name, it tells the story of Odysseus’ wife Penelope (played stunningly by Jennifer Morrison)—and how she occupied herself during the long odyssey recounted in Homer’s Greek epic poem, “The Odyssey.” I had recently finished reading a new translation so that story was fresh on my mind.

Of course, this being Atwood, it is a reset of the tale, told from the woman’s point of view. And it is very scholarly, perhaps a bit cerebral in the first half, relating in more detail than Homer’s work the origins of Penelope, and how she ended up married to Odysseus, the King of Ithaca. We also see what life was like in the palace from Penelope’s perspective, and that of her dozen maids.

Odyseus went off to fight in the Trojan War. He was gone such a long time, 20 years, that princes of his realm presumed him dead, and vied to marry his supposed widow Penelope, and claim the throne. As the years wore on, they didn’t behave nicely—living on the palace’s largess and hitting on the maids relentlessly. It was an unapologetic patriarchy, to be sure.

In Homer’s version, Penelope is celebrated for being steadfast and true. And Atwood gives us this too, but without the male gaze. Penelope constantly thwarts and outwits the obnoxious suitors, and her corps of maids switches genders and roles to show what that was like. With an all female cast, and set with frequent music and dance, “The Penelopiad” relates many of the high points of the original poem. The first act, then, is a recitation of the Odyssey revisited.

Without question, “The Penelopiad” under the direction of new artistic director Susan V. Booth gives the best ever and very understated caricature of male behavior by women actors: the boasting stance, the lack of self-awareness, the entitlement, and the varieties of ways this is displayed by classically awful male personality types. It’s a bracing and edifying experience for a man to see.

This corps of maids also plays identifiable characters (though not credited in the program): the growing Telemachus, evolving from whiny teenager critiquing his mother Penelope’s behavior, to self-empowered accomplice when his father does finally return; the oldest maid, who carps at Penelope and the sisterhood she forms with the young maids. She soon recognizes the disguised Odysseus by his scars when he returns, and selects at his request the maids who will be punished for fraternizing with the suitors.

We also see a maid as Odysseus himself, a pompous braggart at times, who certainly did not make rushing home to Penelope his priority. These transformations in gender are aided by artful breastplate costumes (costume designer Kara Harmon).

Atwood describes “The Penelopiad” as most akin to a cabaret along the lines of Kurt Weill. The music and scintillating choral singing is composed by Samuel Davis and directed by Jeremy Ramey.
While in the first half we get mostly a poetic oration in a series of scenes—Penelope being cast heartlessly into the ocean by her father, surviving and gaining stature as a demigoddess; Penelope’s first encounter with the immature Odysseus—the second half gives rise to real drama. As the years wear on, Penelope develops one final ruse to avoid the suitors: she will weave a shroud for her father-in-law, and when it is done, will select one of the group to marry. Famously she unweaves the shroud each night, and eventually the suitors catch her. 

Luckily, Odysseus is back, and the Odyssey plot grinds quickly to its well-known conclusion. Odysseus slays the suitors, and then horrifically hangs the maids as well. Penelope examines herself in Atwood’s retelling of the epic, and how she has survived only because she sacrificed the maids to the suitor’s unwanted advances. She was powerless to keep Odysseus from hanging the maids, though to her credit, Odysseus kept his intent from her. It’s a truthful and sad conclusion, set in a wholly entertaining frame of music and dance. Kudos to the dramaturg Neena Arndt for her role in bringing us this lesser known work.

”The Penelopiad” runs at Chicago’s Goodman Theatre through March 31

Mozart’s masterpiece, and one of the world’s most frequently performed operas, The Magic Flute, is given a modern-day makeover in award-winning director and writer Mary Zimmerman’s production of The Matchbox Magic Flute, now playing at The Goodman Theatre on its Owen stage.

In this world-premiere production, Zimmerman has adapted the traditionally lavish and grandiose opera with full company and orchestra and has created what has been dubbed an opera-in-miniature with a cast of ten and an orchestra of five. The results are nothing less than triumphant.

From the orchestra members dressed in costume with candles flanking their music stands to the delightful Spirit (wonderfully performed by Reese Parish) who guides us through the performance, to the Zimmerman-trademarked scenery which effortlessly flows from forest to palace and back again, every detail contributes to the overall ambiance of the production to create an intimate theatre experience. The audience feels as if they are part of the performance as the actors frequently turn to us and bring us into the action and let us in on the jokes.

The production follows the traditional story line of Prince Tamino (Billy Rude) who finds himself lost in the forest pursued by a dragon. He is rescued by three woodland ladies, who show him the portrait of Princess Pamina (Marlene Fernandez), the daughter of the Queen of the Night (Emily Rohm), who has been abducted by Sarastro (Keanon Kyles) and his sidekick, Monostatos (Russell Mernagh).

The Prince falls in love with the Princess instantly, and when the Queen of the Night commissions him to rescue her daughter, promising him her daughter’s hand in marriage, the Prince is only too happy to oblige. Aided by a magic flute and accompanied by the lovelorn half-bird, half-man, Papageno (brilliantly played by Shawn Pfautsch), the Prince commences his magical mission.

In adapting this classic opera, Zimmerman has gone line by line, not only condensing the plotline to fit a two-hour running time, but also updating the libretto to include unexpected and humorous references to modern life. For instance, when the three woodland ladies (Lauren Molina, Monica West, and Tina Munoz Pandya) discover the unconscious Prince, they coo over his physique as one who has obviously gone to the gym.

Later when Papageno and the Princess meet and sing about “the bird and the girl,” they encourage one another to persevere and not be discouraged “as when you are waiting in the grocery line.” These references are so cleverly embedded throughout the performance that you find yourself waiting and listening for them.

Even though only one of the ten cast members is a trained opera singer (Kyles who plays Sarastro), all have the musical theatre credentials to do justice to Mozart’s soaring operatic scores. Rohm as Queen of the Night gives an outstanding performance of one of the opera’s most well-known arias, Der Hölle Rache, with its fast repetition of High C’s, that challenges most sopranos. And the superbly comedic duet of Pfautsh’s Papageno and his newfound love, Papagena (also played by Lauren Molina), Pa pa pa, is a show-stopper. Also, not to be missed is Kyles’ impressive baritone, whose lower range wows the audience.

Rude as Prince Tamino and Fernandez as Princess Pamina shine in their respective roles, both vocally and in their character portrayal. Fernandez has a particularly beautiful soprano that is magnificent to hear. The three woodland ladies (Molina, West, and Pandya) are outstanding in their roles, adding humorous commentary on the action to both those on stage and to the audience. Mernagh’s Monostatos, as the one real villain in the story, is played with just the right comedic touch in his clumsy attempts to seduce the Princess.

What ensues is a thoroughly engaging and entertaining production that is fast-paced and lively. Toss in a few woodland creatures, whose dancing border on the hilarious as they throw in a little soft shoe, and you have a family-friendly show perfect for all ages. Even some of the musicians get involved and join the action on stage, as when flautist Dalia Chin, leads the Prince and Princess through their final trials with her “magic flute.”

Zimmerman herself sums up the production as a fantastical, adventuresome journey with something for everyone – dancing animals, magical instruments, lessons learned, along with a bit of humor, all set to Mozart’s time-honored classic score. What’s not to like?

Don’t miss your chance to introduce the younger generations – or even yourself -- to opera in a most winsome and captivating way. The Matchbox Magic Flute is playing through March 24 at the Goodman Theatre.