The Chicago Metropolitan area has a soft spot for a beautiful disaster, and The Play That Goes Wrong delivers the kind of exquisitely engineered chaos that feels tailor‑made for this theater‑loving region. What begins as a straightforward 1920s whodunit quickly mutates into a full‑throttle demolition derby of missed cues, mutinous props, collapsing scenery, and actors clinging to their dignity by the frayed edges of their costumes. Still, this play-within-a-play has the Cornley Drama Society charging through their staging of Murder at Haversham Manor with heroic - if spectacularly misguided - determination, clinging to the illusion of control even as the entire production disintegrates with spectacular enthusiasm.

That staunch commitment - part boldness, part sheer delusion - is exactly where the comedy ignites. Each disaster tops the last, creating a giddy, snowballing momentum that captures the thrill of live theater at its most unpredictable: anything can happen, and in this gloriously unhinged production, absolutely everything does.

Now this wonderful wreckage has landed in the northwest suburbs, with Metropolis Performing Arts Centre in downtown Arlington Heights offering Chicago‑area audiences a prime view of just how fabulously wrong things can go - and how deliriously right it all becomes.

Adeptly directed by Jahanna McKenzie Miller, the production becomes a finely tuned symphony of disarray - each mishap landing with surgical precision, each failing set piece detonating like a perfectly timed punchline. What unfolds is a relentless cascade of comic disaster, the kind that sends laughter rolling through the audience in unstoppable waves and showcases just how artful a well‑executed trainwreck can be.

Ryan Armstrong (left) as Chris Bean / Inspector Carter and Ryan Michael Hamman as Max Bennett in The Play THat Goes Wrong at Metropolis Performing Arts Centre.

To pull off such a bang-bang comedy, it all starts with the cast - and we’ve got a good one here.

Ryan Armstrong leads the beautifully controlled bedlam with a performance steeped in delicious self‑importance, giving Chris Bean - director, actor, and self‑appointed guardian of “proper theatre” - a pompous grandeur that’s as funny as it is precise, while his turn as Inspector Carter unravels in a perfectly paced crescendo of exasperation. Eric Amundson’s Charles Haversham is a riot of physical comedy, playing a corpse who refuses to stay still (hilarious!), and Casey Ross leans into Thomas Colleymoore’s melodrama with booming gusto, turning every line into a wonderfully overwrought declaration.

David Blakeman’s Perkins is a standout of earnest incompetence, mangling lines and props with lovable sincerity, while Ryan Michael Hamman’s Max Bennett steals scenes with wide‑eyed enthusiasm, overacting and shameless audience‑wooing as Cecil Haversham and Arthur the Gardener.

Even the sound and light operator becomes a crucial player in the unfolding disorder. Richaun Stewart turns Trevor Watson into a wonderfully frayed bundle of barely contained madness, playing the chronically overtaxed tech operator whose deadpan, slow‑burn panic becomes one of the evening’s most dependable laugh generators. Teah Kiang Mirabelli dazzles as Florence Colleymoore, embodying Sandra Wilkinson’s diva bravado with such gleeful abandon that each unhinged beat lands bigger than the last.

Rounding out the cast, Natalie Henry turns Annie Twilloil into the production’s unlikely center of gravity in the second act, charting a sharp, hilarious rise from hesitant stagehand to full‑blown spotlight thief.

Together, this ensemble builds a beautifully calibrated disaster - each actor contributing a distinct flavor of chaos that makes the entire production detonate with joy.

And then there’s the set, an impressive spectacle in its own right. Scenic designer Angela Weber Miller, properties designer Gigi Wendt, and technical director David Moreland push the production well beyond a typical farce, each adding a distinct layer of precision and controlled mishaps. The set functions as a full-fledged character, engineered to collapse, misfire, and betray the actors with such precision that its breakdowns become part of the comedy’s rhythm. Each wobbling wall, treacherous platform, and ill-timed malfunction gives the performers a fresh obstacle to hurl themselves against, turning physical comedy into a kind of athletic endurance test. The design doesn’t just support the charade - it actively conspires in it, creating a living, booby‑trapped environment that amplifies every pratfall and heightens the sense that the entire world of the play is gleefully turning against its inhabitants.

Written by Henry Lewis, Henry Shields and Jonathan Sayer, the Olivier Award-winning The Play That Goes Wrong is the kind of theatrical joyride that reminds audiences why live performance is irresistible: it’s unpredictable, it’s explosive, and it’s crafted with such precision that the turmoil becomes its own kind of art. This production delivers laugh after laugh through fearless physical comedy, razor‑sharp timing, and a cast fully committed to the magnificent meltdown unfolding around them. It’s the rare show that guarantees a good time - whether you’re a seasoned theatre goer or someone who just needs a night of pure, cathartic laughter.

For tickets and/or more show information, visit https://www.metropolisarts.com/event/the-play-that-goes-wrong/. Through March 29^th.

Recommended.

Tickets: Regular $49, Preview $35, Students $25
Pay What You Can: February 25, 7:30 pm
Previews: Evenings, February 25 – February 27. Matinee, February 28.
Opening: February 28, 7:30 pm

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

Chicago’s storefront and midsize theatres are in a moment of remarkable artistic urgency, and three current productions—Black Cypress Bayou at Definition Theatre, Admissions at Citadel Theatre, and The Lower Depths at Chopin Theatre—show exactly why. Each tackles a different facet of the world we’re living in, yet all three share a common thread: they refuse to let audiences sit passively. They provoke, unsettle, and spark the kind of conversation that lingers long after the house lights rise.

Black Cypress Bayou

Definition Theatre
Black Cypress Bayou isn’t just a Chicago premiere—it’s a humid, slow‑burning descent into the secrets families bury and the truths that refuse to stay submerged. Set against the thick Southern air of rural Louisiana, the play braids together folklore, mystery, and generational trauma with a confidence that feels both ancient and startlingly fresh. Reviewers and theatre goers have praised the production’s cultural specificity, its sly humor, and the emotional ferocity of the Manifold women, whose long‑hidden histories rise up like ghosts demanding to be heard. Definition Theatre’s intimate staging amplifies every revelation, every crack in the family’s façade, pulling audiences into a world where the past is never really past.

Through March 15^th.  TICKETS

Admissions

Citadel Theatre
Joshua Harmon’s Admissions hits with renewed force in 2026, when debates about equity, representation, and institutional responsibility are no longer abstract—they’re lived, daily realities. Citadel’s production has earned a wave of “highly recommended” notices for its sharp direction and its cast’s fearless willingness to sit in discomfort. The play exposes the gap between what we say we believe and what we actually do when our own interests are on the line. It’s funny, biting, and unflinchingly honest, the kind of show that makes an audience laugh in recognition one moment and wince the next. This is theatre that doesn’t let you off easy, and that’s exactly why it’s resonating so strongly right now.

Through March 15^th.  TICKETS

The Lower Depths

Chopin Theatre (Gwydion Theatre Company)
Gwydion Theatre Company’s world‑premiere adaptation of Gorky’s The Lower Depths plunges audiences into a raw, unvarnished portrait of people living on society’s edge. Buzz Center Stage’s Sarz Maxell has called it an “avalanche of anguish,” and the phrase fits—the production is relentless in its honesty, yet deeply humane in its portrayal of those who survive on hope, illusion, and each other. Staged in the atmospheric basement of the Chopin Theatre, the show surrounds you with its ensemble of characters, each clinging to dignity in a world that offers them little. In a moment when conversations about economic precarity and social invisibility are everywhere, this adaptation feels piercingly relevant.

Through March 8^th.  TICKETS

Why See Them Now?

Because each of these plays is wrestling with the world as it is—not as we wish it to be.
Because Chicago theatre is at its best when it’s bold, unflinching, and unafraid of complexity.
And because these three productions, taken together, offer a panoramic view of the pressures shaping American life: race, class, family, ambition, and the stories we tell to survive.

If you’re looking for theatre that challenges, engages, and refuses to let you off the hook, these are the shows to catch before they’re gone.

At Theater Wit, a Jeff Award–winning solo performance reimagines Charles Dickens with both comic absurdity and aching humanity. The great author, improbably alive more than two centuries after his birth, finds himself trapped in a ritual that has long outlived him: the annual retelling of A Christmas Carol. Since 1853, every December has brought another booking, another stage bathed in candlelight, another weary summoning of Scrooge, Marley, and Tiny Tim from memory.

What begins as a familiar recital becomes something stranger and more profound - a meditation on endurance, tradition, and the peculiar perpetuity of a single story. Dickens wrestles with the paradox of being eternally tethered to the story that won him immortality, even as time has turned him into a monument of his own making. What emerges is a portrait both tender and askew - an unexpectedly poignant glimpse of an artist suspended between legacy and fatigue, reverence and ridicule, comedy and elegy.

Under the deft direction of Jonathan Berry and brought to life by the inventive artistry of Blake Montgomery - who both conceived and performs the piece - we are treated to a holiday experience unlike any other. Charles Dickens Begrudgingly Performs “A Christmas Carol” Again transforms the familiar into the fantastically strange, as the enduring author himself returns to the stage with equal parts reluctance and wit. What might have been a simple seasonal retelling becomes a singular theatrical event: a blend of satire, intimacy, and absurdity that reimagines Dickens not as a distant literary figure, but as a weary performer bound to his own timeless creation.

Montgomery’s embodiment of Charles Dickens is nothing short of spellbinding. With remarkable nuance, he breathes new life into the familiar literary icon, reshaping Dickens into a figure at once startlingly fresh and profoundly compelling. What might have been a mere impersonation becomes instead a vivid act of re‑creation - an imaginative dialogue between past and present. Alone on stage, Montgomery commands the space with unyielding energy and precision, shifting seamlessly between wit, gravitas, and emotional depth. His performance is not simply a portrayal, but a tour de force that redefines what a one‑person show can achieve: intimate yet grand, inventive yet faithful, and utterly captivating from start to finish. With its inventive premise and captivating performance, Charles Dickens Begrudgingly Performs “A Christmas Carol” Again stands out as one of the season’s most unique and rewarding theatrical offerings.

Stepping into the role of Dickens, Montgomery slyly nods to Goodman’s grand-scale A Christmas Carol - though he never names the theatre outright, instead referring to it as “that large production downtown with all the smoke, flying spirits, and special effects.” By invoking this spectacle without directly tethering himself to it, he cleverly sets the stage for contrast. His aim is clear: to remind the audience that imagination, not machinery, is the true engine of storytelling.

What follows is a masterclass in restraint and invention. Against the backdrop of a spare set, Montgomery’s performance brims with detail and nuance. His voice, gestures, and timing conjure entire worlds, allowing the audience to paint the scenes in their own minds. The absence of technical wizardry becomes a strength, sharpening our focus on the craft itself. I found myself swept into vivid mental landscapes - fog curling through London streets, spirits shimmering in the dark - summoned not by stage trickery but by the sheer force of Montgomery’s storytelling.

The result is a kind of theatrical alchemy: a performance that proves simplicity can be just as transporting as spectacle, and that Dickens’s timeless tale thrives as much in the imagination as it does under the glow of stage lights.

Dickens Again (for short) is truly a magical experience.

Arrive early! The festivities begin before the curtain rises, as Dickens himself roams the aisles, playfully engaging with audience members and filling the theater with holiday cheer to set the perfect Christmas mood.

Charles Dickens Begrudgingly Performs “A Christmas Carol” Again has firmly established itself as a beloved Chicago holiday tradition. Since 2011, Blake Montgomery has stepped into the role of Dickens, delighting audiences year after year with a performance that blends humor, heart, and timeless storytelling—warming spirits and cementing the show’s place in the city’s festive season.

This production comes from Clownshow, a boldly imaginative company dedicated to crafting live theatrical events from concept through performance. At the helm is Producing Artistic Director Blake Montgomery, whose vision drives the company’s inventive approach to storytelling.

Charles Dickens Begrudgingly Performs “A Christmas Carol” Again is being performed at Theater With through December 28^th. For tickets and/or more show information, visit https://www.dickensagain.com/.

Christmas cheer is here. Or rather... CHRISTMAS CHEER IS HERE!!!

Based on the 2003 blockbuster hit movie Elf with Will Ferrell and Zooey Deschanel, Elf the Musical is a glittering holiday stage confection that mixes slapstick comedy, heartfelt family drama, and a score full of catchy tunes like “Nobody Cares About Santa,” and “Never Fall in Love with an Elf” (one of the musical’s best song and dance numbers). It’s a show designed to leave audiences laughing, humming, and perhaps even believing in Christmas magic again. The stage adaptation of Elf transforms the beloved film into a glittering Broadway spectacle, guided by the comic touch of Bob Martin and Thomas Meehan’s book.

Buddy the Elf is anything but ordinary - mainly because he isn’t an elf at all. Accidentally tucked into Santa’s sack as a baby and raised among the North Pole’s toy-making crew, Buddy grows up brimming with candy-cane energy and a grin as bright as the Rockefeller Center tree (after all, smiling is his favorite). When the truth of his human identity comes to light, he heads to New York City in search of his real father, Walter Hobbs - a cranky children’s book publisher whose name sits squarely on Santa’s naughty list. What follows is a merry storm of comic misadventures, from Buddy’s chaotic debut at Walter’s office to his glitter-drenched takeover of Macy’s, capped by the showstopping ensemble number “Sparklejollytwinklejingley.”

Buddy’s relentless cheer doesn’t always hit its mark - especially with Jovie, the world-weary Macy’s employee who slowly softens to his quirky charm. At home, Walter’s wife Emily and son Michael yearn for connection, their longing beautifully voiced in the ballad “I’ll Believe in You.” As Buddy’s antics spiral from comic chaos to heartfelt desperation, Walter’s patience frays, setting the stage for a holiday crisis that peaks when Santa’s sleigh sputters to a halt in Central Park.

In true Christmas fashion, it’s Buddy’s infectious joy - and the collective power of a crowd singing together - that rekindles belief in magic. By the final curtain, Walter has embraced Buddy as his son, Jovie has discovered love, and the city itself has been swept up in a wave of rediscovered holiday spirit. The message is simple yet enduring: sometimes it only takes one elf to remind us of the wonder we’ve forgotten.

Currently lighting up Auditorium Theatre in a limited engagement through December 14^th, this zany holiday romp delivers a burst of festive cheer guaranteed to lift spirits high enough to send Santa’s sleigh soaring once more.

Jack Ducat slips seamlessly into Buddy the Elf’s candy-cane-striped shoes, radiating a charm that feels tailor-made for the role. His wide-eyed innocence glows like twinkle lights across the stage, a pure embodiment of childlike wonder that never dims. With boundless energy and an infectious grin, Ducat magnifies Buddy’s relentless optimism until it fills the entire theatre, wrapping the audience in holiday warmth. His comedic instincts are razor-sharp, turning even the smallest quip or physical gag into a laugh-out-loud moment, while his musical bursts sparkle with joy. In every scene, Ducat channels the essence of Christmas spirit - reminding us that Buddy isn’t just a character, but a cultural touchstone of holiday cheer, beloved for the way he makes us believe in magic all over again.

The production’s heart is amplified by its supporting cast, each bringing dimension and warmth to Buddy’s journey. Felicia Martis crafts a Jovie with delightful complexity - her initial cynicism and guarded demeanor provide a sharp contrast to Buddy’s boundless optimism, making her eventual embrace of Christmas cheer all the more rewarding. As Walter Hobbs, Buddy’s beleaguered father, Jeff Brooks anchors the story with a commanding presence, capturing both the stern pragmatism of a businessman and the gradual softening of a man rediscovering family and faith. Yara Martin, as stepmother Emily Hobbs, is nothing short of luminous; her nurturing spirit radiates throughout, and she truly dazzles in her duet with son Michael. Camden Kwok, in turn, delivers a wonderfully earnest Michael, whose youthful sincerity makes “There is a Santa Claus” a standout moment along with Martin - an anthem of belief that sparkles with joy and reminds audiences of the magic at the core of the season. (*Ryan Duck alternates performances with Camden Kwok as Michael).

Darius J. Manuel proves to be a dynamic force onstage, stealing scenes with not one but two memorable turns. As the exuberant hotdog vendor, he serves up laughs alongside “The World’s Greatest Hotdog,” infusing the moment with infectious energy. Later, he reappears as the genial store manager whose good intentions lead to comic gold when he assumes Buddy’s elf costume marks him as a holiday department employee. Manuel’s sharp comedic instincts shine in both roles, blending physical humor with a warmth that keeps audiences leaning in. The highlight comes when Buddy nudges him into song, unlocking Manuel’s impressive vocal range.

Katelyn Lauria lights up the stage as Hobb’s office assistant Deb, delivering a performance brimming with comic zest. Her sharp timing and playful wit turn every moment into a laugh, while her buoyant presence injects a spark into the office scenes, ensuring Deb stands out as one of the production’s most memorable delights. Equally compelling is Andrew Kendrick, who demonstrates remarkable versatility in two sharply contrasting roles. As Santa Claus, he radiates warmth and joviality, embodying the very essence of holiday cheer with a twinkle in his eye and a booming laugh that instantly charms the audience. Then, in a striking shift, Kendrick inhabits the stern, impatient Mr. Greenway - Walter Hobbs’ demanding boss - capturing the character’s rigid authority with crisp precision. The contrast between these extremes not only highlights Kendick’s impressive range but also deepens the production’s narrative, balancing the magic of Christmas spirit against the hard edges of corporate life.

Director Philip Wm. McKinley orchestrates this holiday jewel with remarkable finesse, shaping each moment to shimmer with the warmth and sparkle of Christmas spirit. His vision transforms the stage into a living snow globe, where sweeping scenic designs unfold into breathtaking tableaux and glittering special effects ignite a sense of wonder that keeps audiences spellbound. The humor is delivered with impeccable timing, sending waves of laughter through the theatre, while the dance numbers dazzle with precision and exuberance, bursting forth like fireworks of festive joy. At the center of it all is a radiant ensemble whose collective energy and talent elevate the production beyond mere entertainment, crafting instead a jubilant celebration of the season - one that leaves audiences glowing with holiday cheer long after the curtain falls.

Overflowing with laughter and festive cheer, Elf the Musical is the perfect gift to unwrap this season. A joyous addition to any holiday wish list, the production delivers sure-fire fun for audiences of all ages, blending heartwarming spirit with playful humor that keeps the Christmas magic alive from start to finish.

Highly recommended.

Elf the Musical is being preformed at Auditorium Theatre through December 14^th. For tickets and/or more show information, visit https://elfmusicaltour.com/.  

I’ll admit it—I’ve never watched an episode of The Real Housewives. So, heading into Hell in a Handbag’s latest holiday production inspired by the series, I braced myself for a barrage of references that might slip past me. Turns out, I caught the vibe almost instantly—and once I did, the jokes flew fast and furious.

So, after a bit of research - for anyone else walking in blind - The Real Housewives is a reality TV juggernaut that blends glamour, intrigue, and high-stakes drama into a cultural phenomenon - and yes, the claws can come out. For nearly twenty years, the franchise has captivated audiences with its blend of luxury lifestyles, fiery confrontations, and unforgettable personalities - cementing its place as one of the most influential and enduring phenomena in modern pop culture. What began in Orange County soon spread to New York City, Atlanta, New Jersey, and beyond. But thanks to Hell in a Handbag, it was only a matter of time before The Real Housewives set up shop at the North Pole. That’s right - The Real Housewives of the North Pole is here.

The North Pole has never looked frostier. When Santa and his circle of high-powered holiday elites find themselves slapped with indictments for fraud, sending shockwaves through the snowy kingdom, the glittering facade of candy-cane wealth begins to crack. Now it falls to the women to rescue their families from looming financial ruin. Though practical survival skills are in short supply, the burden falls squarely on the housewives to rebuild an empire. Years of privilege have left them with closets overflowing in luxurious clothing and jewels, but little else to shield them when their glittering world is suddenly under threat.

In quintessential Handbag camp style, we’re introduced to the housewives who truly matter the most when the holidays roll around. At the heart of the series is Santa’s wife, Ruth Claus (Honey West), freshly embracing sobriety while wrestling with the family finances. Her anchor in the storm is the irresistibly suave Carlos (Taylor Mercado Owen), a sobriety coach whose steady charm keeps her grounded amid the glitter, chaos, and sappy drama of the North Pole. Always on the hunt for drama and the makings of a hit, BRAVO network producer Andy Cohen (David Lipschutz) wastes no time assembling a roster of North Pole divas. Enter Mrs. Samantha Frosty (Robert Williams), Mrs. Gladys Dasher (David Cerda), Clarice, the long-suffering wife of Rudolph (Anna Rose Steinmeyer), and Suzy Snowflake, Jack Frost’s icy better half (Britain Shutters). Once these housewives collide, the antics escalate at lightning speed - each outrageous clash topping the last, turning the show into a blizzard of hilarity and brawls.

As petty catfighting and ditziness reach new heights, make-up artist Cookie (Terry McCarthy) goes to heroic lengths to keep the housewives looking fabulous - even if it requires the occasional power tool. Meanwhile, the poor Production Assistant (Kelly Opalko) can’t catch a break, as no one seems able to remember her name… Petra, maybe?

(front, center) Anna Rose Steinmeyer with (back, l to r) Robert Williams, Taylor Mercado Owen, David Cerda and Britain Shutters in Hell in a Handbag Productions’ world premiere of The Real Housewives of the North Pole.

While visually filling to watch the chaos and absurdity unfold on stage, The Real Housewives of the North Pole also makes clever use of multimedia, employing dual screens to showcase interviews not only with the housewives themselves but also with a parade of special guests - including Santa (Michael Hampton) and Bernice (Ed Jones), the typical “average housewife.”

Amid the whirlwind of onstage action, there’s still another performance that deserves recognition. Stage Manager/Board Operator Conor Frank delivers one of the production’s most quietly dazzling performances, orchestrating an entire symphony of effects from the wings. With remarkable precision, he juggles live foley work and layered audio cues, transforming everyday objects into bursts of comic timing or atmospheric texture. Watching him at the side of the stage is its own kind of theater - an intricate dance of concentration and creativity that underscores the madness onstage.

A genuinely one-of-kind theatre company, Handbag’s comedic talent never fails to impress as their entire ensemble was outstanding, and their uncanny knack for casting ensures each role feels tailor-made. And just in time for the holidays, Hell in a Handbag has pulled it off yet again - another dazzling feather tucked neatly into their fabulously overstuffed cap. With David Cerda’s sharp pen and Tommy Bullington’s spirited direction, The Real Housewives of the North Pole serves up a frosty feast of holiday hilarity that should not be missed.

Recommended for lots of laughs and Handbag-style holiday cheer!

The Real Housewives of the North Pole is being performed at The Clutch Chicago (4335 N. Western Ave) through January 4^th. For tickets and/or more show information, visit www.handbagproductions.org.

*Special note - FOLLIES the Annual Hell in a Handbag 2025 Benefit will be taking place at Ebenezer Lutheran Church in Chicago’s Andersonville neighborhood this Sunday, December 7^th at 5:30pm-9pm. Per Handbag’s site, the evening will include dinner, drinks, entertainment, a raffle and silent auction.

Tickets ($104 general admission, $129.75*) are available (click HERE for tickets). *Prices include processing fees.

Handbag celebrates its 24th year with a very abbreviated production of Follies – performed Hell in a Handbag style! Watch as aging showgirls, draped in sequined desperation, reunite to belt out twisted parodies of Stephen Sondheim's most iconic numbers including “I'm Still Here,” “Losing My Mind,” “Broadway Baby,” “Beautiful Girls” and other favorites It'll be the hits you love and a show you'll desperately try to forget (with apologies in advance to the spirit of Mr. Sondheim).

The entertainment line-up features ensemble members David Cerda, Sydney Genco, Caitlin Jackson, Ed Jones, Lori Lee, David Lipschutz, Stevie Love, T.J. O'Brien, Michael Rashid, Danne W. Taylor and Robert Williams, along with some surprise guests.

The beloved Rodgers and Hammerstein classic The Sound of Music returns to the Windy City in a dazzling stage revival now playing at the James M. Nederlander Theatre. This timeless tale of love, courage, and music unfolds with renewed vibrancy, inviting audiences of all ages to fall in love all over again.

Whether you're a lifelong devotee of the film or stage version or stepping into Maria’s world for the very first time, this production offers a theatrical experience that’s as rich as it is resonant. From its sweeping alpine backdrops and meticulously crafted sets to a cast that radiates warmth, wit, and vocal brilliance, every element is designed to stir the soul.

At its core, The Sound of Music remains one of the most enduring love stories ever told - between Maria and Captain von Trapp, yes, but also between a family and their homeland, between music and the human spirit. With iconic songs like “Edelweiss,” “My Favorite Things,” and “Climb Ev’ry Mountain,” this revival doesn’t just revisit a classic - it reawakens it.

Cayleigh Capaldi (Maria Rainer) in The Sound of Music.

The Sound of Music is a luminous and emotionally stirring stage musical set against the breathtaking backdrop of pre-World War II Austria. At its heart is Maria, a spirited and unconventional postulant at Nonnberg Abbey whose zest for life and spontaneous bursts into song set her apart from the cloistered world of the convent. When she is sent to serve as governess to the seven children of the widowed and emotionally distant Captain Georg von Trapp, Maria finds herself in a household governed by strict discipline and silence. Though initially met with skepticism and resistance, her warmth, imagination, and infectious love of music gradually break through the children’s defenses - and eventually, the Captain’s as well.

As Maria reawakens the household with laughter and melody, the von Trapp family begins to rediscover one another. The children, once regimented and joyless, blossom under her care, and the Captain, long hardened by grief and duty, finds himself drawn to Maria’s vitality and compassion. Their growing affection unfolds tenderly, culminating in a romance that feels both inevitable and hard-won. The family’s transformation is mirrored in the music they create together - joyful, tender, and deeply human. Songs like “Do-Re-Mi,” “My Favorite Things,” “Sixteen Going on Seventeen,” and “Edelweiss” become not just musical numbers, but emotional touchstones that chart the family’s journey from isolation to unity.

Yet, as the hills come alive with music, the world beyond their villa darkens. The Anschluss—the annexation of Austria by Nazi Germany - casts a chilling shadow over their newfound happiness. When Captain von Trapp is ordered to accept a commission in the German navy, he is faced with a moral reckoning. Refusing to serve a regime he cannot support, he and his family must make a harrowing decision: to flee their homeland in search of freedom. Their escape, staged during a public music festival, becomes a moment of breathtaking suspense and quiet heroism, culminating in their flight across the mountains under cover of night.

Premiering on Broadway in 1959, The Sound of Music marked the final collaboration between legendary composer Richard Rodgers and lyricist Oscar Hammerstein II. It remains a cornerstone of American musical theater, cherished for its soaring melodies, heartfelt storytelling, and its enduring message: that love, courage, and the human spirit can triumph even in the darkest of times. Its legacy continues to resonate with audiences around the world, reminding us that music can be both a refuge and a rallying cry.

Cayleigh Capaldi brings a luminous vitality to Maria, infusing the role with a captivating mix of innocence, mischief, and emotional depth. From her first entrance, Capaldi radiates warmth and charisma, embodying the spirited young woman whose heart leads her from the abbey to the hills of Austria. Her Maria is not just charming - she’s refreshingly authentic, with a spark of wit and a tender vulnerability that makes her journey feel deeply personal. Capaldi navigates the character’s emotional terrain with finesse, shifting effortlessly between playful exuberance and introspective grace.

Vocally, she is nothing short of commanding. Her voice glides through the Nederlander Theatre with shimmering clarity and expressive nuance, embracing the full emotional spectrum of Rodgers and Hammerstein’s iconic score. In ensemble numbers like “Do-Re-Mi,” she leads with transmittable energy and precision, while her solo moments—especially the titular “The Sound of Music” - reveal a soul-stirring resonance that lingers long after the final note.

Capaldi doesn’t just play Maria - she inhabits her, offering a performance that is both technically masterful and emotionally alive. It’s a portrayal that anchors the production with heart, humor, and undeniable star power.

Kevin Earley delivers a commanding and emotionally resonant performance as Captain Georg von Trapp, offering a portrayal that evolves with striking depth and humanity. At first glance, Earley embodies the Captain’s military precision and stoic reserve with effortless authority. His posture, tone, and presence reflect a man shaped by discipline and loss—a widower clinging to order in a world that feels increasingly uncertain. Yet beneath that stern exterior, Earley allows glimmers of vulnerability to emerge, setting the stage for a gradual and deeply moving transformation.

As Maria’s influence begins to thaw the Captain’s guarded heart, Earley’s performance shifts with subtlety and grace. His rediscovery of music, paternal warmth, and romantic possibility is portrayed with such sincerity that the emotional payoff feels both earned and profound. In moments of quiet reflection and tender connection - especially with his children and Maria - Earley reveals the soul of a man learning to live and love again.

Together, he and Cayleigh Capaldi share a chemistry that is both grounded and electric. Their dynamic breathes fresh life into this iconic love story, anchoring the production with emotional truth and theatrical finesse. These are not just roles well played - they are characters fully lived, making their journey as stirring as the music that carries it.

Supporting players bring depth, power, and polish to this production of The Sound of Music, with standout performances that elevate the emotional and comedic stakes.

Christiane Noll commands the stage as Mother Abbess, delivering a performance that is both spiritually grounded and vocally transcendent. Her rendition of “Climb Ev’ry Mountain” is nothing short of breathtaking - a soaring, soul-stirring anthem that anchors the show’s emotional core. Noll’s presence exudes wisdom and warmth, portraying the Abbess not just as a religious figure, but as a guiding force in Maria’s journey toward self-discovery and love. Her voice, rich and resonant, fills the Nederlander Theatre with a sense of hope and conviction that lingers long after the final note.

Nicholas Rodriguez is pitch-perfect as Max Detweiler, the savvy and socially nimble Third Secretary of Education and Culture. Rodriguez leans into Max’s charm and opportunism with delightful precision, capturing the character’s comic timing and moral ambiguity without ever tipping into caricature. His rapport with the von Trapp family feels genuine, and his scenes crackle with energy—especially as he navigates the shifting political landscape with a mix of wit and self-preservation. Rodriguez’s Max is a man who knows how to play the game but never loses sight of the music that gives life its meaning.

Kate Loprest brings elegance and edge to Elsa Schraeder, the sophisticated socialite poised to become the Captain’s second wife. Loprest’s portrayal is layered - cool and composed on the surface, yet subtly revealing the cracks beneath as Maria’s influence grows. She captures Elsa’s ambition and vulnerability with finesse, making her more than just a foil to Maria. Loprest’s performance adds complexity to the romantic triangle, reminding us that even the “would-be” wife has her own story to tell.

Together, these performers enrich the production with texture, tension, and vocal brilliance - ensuring that The Sound of Music resonates far beyond its central love story.

Ian Coursey (Rolf Gruber) and Ariana Ferch (Liesl von Trapp) in The Sound of Music.

The von Trapp children light up the stage with charm, precision, and musicality, bringing warmth and vitality to every scene they inhabit. From the moment they appear, the young performers captivate with their seamless harmonies, crisp choreography, and infectious energy. Each child brings a distinct personality to their role, yet together they form a cohesive and endearing ensemble that anchors the emotional heart of the production. Their comedic timing and heartfelt interactions with Maria add levity and tenderness, making their scenes some of the most memorable in the show.

Leading the pack is Ariana Ferch as Liesl, the eldest daughter navigating the cusp of adulthood with grace and curiosity. Finch delivers a beautifully layered performance - equal parts youthful exuberance and emerging maturity. Her voice is clear and expressive, and she moves with a dancer’s ease, especially in the show-stopping number “Sixteen Going On Seventeen.” Paired with Ian Coursey as Rolf Gruber, the two share a chemistry that sparkles with innocence and flirtation. Coursey brings a boyish charm and vocal strength to Rolf, and together, their duet becomes a highlight of the evening - playful, romantic, and visually delightful.

This production doesn’t just rely on nostalgia - it reinvigorates the von Trapp children with fresh talent and heartfelt performances, reminding us why their story continues to resonate across generations.

Brilliantly directed by Jack O’Brien, I have nothing but high praise for this wonderful production of The Sound of Music. Broadway in Chicago’s offering is a glorious revival that sings with heart, harmony, and timeless magic! With its grand, meticulously crafted sets, powerhouse vocals, and standout performances across the board, this production of The Sound of Music is nothing short of a theatrical triumph.

Highly Recommended.

The Sound of Music is being performed through November 2^nd at the James M. Nederlander Theatre. For tickets and/or more show information, visit https://www.broadwayinchicago.com/shows/the-sound-of-music/.

All hands on deck Titanic fans! Get ready for a lavishly produced musical that boldly reimagines the Titanic story, navigating it into fresh and unforeseen waters.

The story of the "unsinkable" Titanic is one most of us know well—the ship’s ill-fated maiden voyage on April 14, 1912, ending in tragedy as it struck an iceberg and sank to the ocean's depths. Many are also familiar with the iconic film Titanic, starring Leonardo DiCaprio and Kate Winslet, which, while rooted in historical accuracy, introduced audiences to the poignant love story of Jack and Rose—two young hearts entangled in a passionate romance before disaster struck. But were the events exactly as we’ve been told? According to Celine Dion, who claims to have been there, the story might be quite different.

Alas, Broadway in Chicago and Porchlight Theatre proudly bring you Titanique—a one-of-a-kind musical comedy that's guaranteed to leave you in stitches and thoroughly entertained. Directed by Tye Blue, Titanique is an uproariously funny and gloriously campy musical parody that breathes new, unexpected life into James Cameron's beloved cinematic masterpiece, Titanic. At the helm of this delightfully absurd reimagining is none other than global superstar Celine Dion—or, at least, a larger-than-life version of her. Yes, that Celine Dion! In an inspired twist, Celine barrels her way into the heart of the story, unapologetically seizing control of Jack and Rose's ill-fated romance and retelling it as only she can. Her perspective transforms the tragic tale into a flamboyant celebration of love, loss, and diva-level drama.

But don’t expect a straight retelling! With book by Maria Mindelle, Constantine Rousoull and Tye Blue, Titanique is dripping with outrageous humor, zany antics, and more self-aware silliness than you can shake a life preserver at. This hilarious musical is powered by Celine's legendary hits—including the anthem of all anthems, "My Heart Will Go On"—woven cleverly into the narrative to deliver laugh-out-loud musical moments. Every note and every lyric is infused with heart, hilarity, and that unmistakable Celine flair. Other standout songs include the heartfelt "All By Myself," the captivating "To Love You More," and “River Deep, Mountain High.”

Part parody, part homage, Titanique is a buoyant blend of romance, comedy, and theatrical absurdity that captures the essence of '90s nostalgia while winking affectionately at its audience. It’s a showcase of over-the-top diva brilliance, a love letter to a bygone era, and an experience that is uproariously entertaining with the ridiculous factor cranked up all the way.

Titanique’s Broadway Playhouse run showcases an exceptional all-Chicago cast—and their performances are outstanding.

Let’s talk about show-stopping performances! Clare Kennedy McLaughlin sparkles as Céline Dion, delivering a perfect blend of powerhouse vocals and side-splitting humor. With a flawless mix of diva attitude and quirky charm, she captures Céline's essence in a way that makes her a true standout in this riotous spoof. From her spot-on comedic timing to her ability to belt out those iconic ballads, McLaughlin has the audience roaring with laughter - and cheering for more. Her performance is the heart and soul of Titanique—bold, delightfully campy, and unforgettable.

Adam Fane and Maya Rowe star as Jack and Rose in Titanique at Broadway Playhouse.

Adam Fane shines as Jack, captivating audiences with his charm and comic mastery. Fane’s performance effortlessly enhances the show's playful lampoon of the iconic Titanic tale. With impeccable timing and genuine emotional depth, he brings a delightful balance to his role. As Jack’s love interest, Maya Rowe infuses the role of Rose with vibrant energy, delivering a performance that is both engaging and hilariously on-point. Her portrayal seamlessly complements the show's whimsical and irreverent spirit, showcasing her knack for humor while preserving the heart of her character. Rowe's charm and comedic brilliance make her a standout in this unsinkable production.

The ensemble cast of Titanique is an absolute joy, bursting with energy, humor, and incredible talent in this gut-busting musical comedy. Each performer adds their own unique touch, coming together as a dynamic force that fuels the show’s hilarity and charm. Abbey C. Smith delivers a triumphant vocal performance as Molly Brown, while Lorenzo Shawn Parnell dazzles with his remarkable voice as both The Seaman and the Iceberg. Rob Lindley, as Rose’s mother Ruth, earned some of the loudest laughs of the night, with Adrian Aguilar as Cal and Jackson Evans portraying both Luigi and Victor Garber adding to the show’s irresistible humor.

The scenic and costume design of Titanique is truly remarkable. The neon-lit iconic Titanic staircase draws audiences into a fantastical world that beautifully aligns with the show’s cheeky and whimsical vibe. The costumes are just as outstanding, showcasing a perfect mix of creativity and humor that bring the characters to life in a visually striking way. Together, the scenic and costume design craft an immersive atmosphere that amplifies the charm and playful extravagance of this remarkable production.

Completing the checklist, the Broadway Playhouse in Downtown Chicago offers an ideal venue to immerse yourself in the magic of Titanique. Warm and intimate, the theater offers exceptional sightlines from every seat, allowing audiences to immerse themselves in the performance and feel fully connected to the on-stage magic. 

For a musical comedy, Titanique checks all the right boxes, offering a delightful experience that's worth enjoying again and again. Take the plunge with Titanique!

*Don't bring the little kiddos! There's a good reason the musical's website suggests a 13+ audience. Titanique contains sexual innuendo and adult language.

Performed at Broadway Playhouse through July 13th. For more tickets and/or show information, click here.

*This review can also be found at Theater in Chicago.

What first made its mark on Broadway ten years ago in November 2012, has now become a traditional holiday play for theater goers to attend – when it comes to town. Based on the mega-popular film, A Christmas Story: The Musical is regularly being mounted by theater companies come November for families to enjoy. Already well-equipped with the humor, timeless plotline and loveable characters from A Christmas Story, the musical adds to that by bringing in a massive selection of numbers written by Pasek and Paul (book by Joseph Robinette) that make this a big stage event that is sure to get everyone in the holiday spirit. And while so many films or TV shows don’t really translate to the live stage, A Christmas Story: The Musical does.

Based in Small Town, Indiana, the story revolves around a family in 1940, Ralphie Parker specifically, wonderfully played in this production by Kevan Newman (also played by Keegan Gulledge in alternating performances). Christmas is around the corner and all Ralphie wants is the Red Ryder Carbine Action BB Gun. But whenever he brings up the BB gun to anyone, he is promptly shut down and told “You’ll shoot your eye out,” repeatedly his hopes are dashed, but Ralphie can still dream. Ralphie gets a brainstorm when his teacher, Ms. Shields (fantastically played by Jenna Coker-Jones) hands out an assignment for her class to write an essay on what they would like for Christmas. Simple, Ralphie will write about the Red Ryder Carbine Action BB Gun, and everyone will be so impressed his parents will have no choice but to gen him the gun. Well, not so simple as a series of hilarious sequences take place and Ralphie’s Christmas plans are not looking so certain.

At the same time, Ralphie’s father cast as The Old Man and brilliantly played by Lorenzo Rush, Jr., has finally won a prize for his relentless efforts at a crossword contest (thanks mainly to the help of his wife deftly played by Sara Reinecke). The prize might not be close to the generous cash awarded for the top spots, but it’s a prize – and it’s his prize, and he couldn’t be prouder of his tacky lamp of which its base is that of a show girl’s leg. He places it so it is displayed in the home’s from window and he is the envy of his neighbors.  

That lamp is just one more reason for holiday cheer in the Parker household.

The dynamics of Ralphie and his family 1940’s living is just so enjoyable to watch and the surrounding characters in this funny musical have so much to offer. Seasoned actor, Kevin McKillip, narrates the story as a grown up Ralphie looking back and reminds us why he considered one of the finest stage performers in the Chicago area. His timing is impeccable. And going back to Coker-Jones, she is most certainly another one of the show’s standouts, while Lorenzo Rush, Jr. is a thrill to watch in just about every scene he is graces us with – and, wow, his singing voice!

Performed in the round at Marriott theatre, A Christmas Story: The Musical is a holiday hit that has it all. From its nonstop laugh out loud scenes to its big, colorful song and dance numbers to its warm and moving story at its core that centers around family, this is a sure-fire treat to add to this Christmas season’s to do list.

A Christmas Story: The Musical is being performed at Marriott Theatre through January 1^st. For tickets and/or more show information click here.

I doubt I’m alone when I say that Jesus Christ Superstar is one of the greatest musical productions of all time. It’s easy to love. It has all the elements that make a potent stage experience from marvelous music to compelling leads to an engaging storyline to explosive dance numbers. When it was first staged fifty years ago, the brilliance of composer Andrew Lloyd Weber and the on-target lyrics of Time Rice coupled with the performances Ted Neeley (Jesus), Yvonne Elliman (Mary Magdalene) Carl Anderson (Judas) and a talented ensemble were nothing short of magical. The edgy production shot its way through the 1970’s with critical acclaim where it still packs theaters today with new generations of vocally gifted actors taking on the classic roles. The musical, which was first staged in 1971 was inspired by the 1970 album with Deep Purple’s Ian Gillan singing the part of Jesus.

As decades have since flown by so have the different variations of this staged phenomenon. And really, it's as simple as this – for a musical production of Jesus Christ Superstar to be successful – and memorable, the show must have a strong Jesus, Judas and Mary. The current touring production of Jesus Christ Superstar, which is in the midst of a two-week run at Chicago’s Cadillac Palace, has just that. Aaron LaVigne is a wonderful choice to fill the sandals of Jesus. His guitar-playing presence is warm while strong, his vocals gentle while powerful, peppered with impressive range. Omar Lopez-Cepero as Judas must have been an easy casting choice as he is one who cannot only belt with the best of them, but effectively takes us down the dark road travelled by Jesus’ skeptical right hand. Jenna Rubaii rounds out this trinity of talent with an amazing performance that theatregoers will long remember. The performances of these three carry the show with such ease and command that it’s talented ensemble can freely do their thing to make this an incredibly stunning production Jesus Christ Superstar fans will not want to miss.

The musical centers around the final days of Jesus that lead to his crucifixion. As his popularity rises with the large number of people who see him as the Messiah, enemies emerge from both church and state that want him out of the picture. This period deals with the many complexities and human emotions, that he may have experienced, but also focuses on Jesus’ complicated relationship with Judas and Mary.

The music is timeless, and the musicianship is nothing short of incredible thanks to an inspiring performance by LaVigne (especially, during his rendition of “Gethsemane” – Wow!), and a flurry of praise-worthy vocal performances including Rubaii’s show-stopping “I Don’t Know How to Love Him” and Lopez-Cepero’s “Damned for All Time”.  

Outside of its main characters and its energetic, well-choreographed ensemble, Jesus Christ Superstar also gets a boost with several other standout performances. Tommy Sherlock is outstanding as Pilate while Paul Louis Lessard dazzles in the always crowd favorite sequence of “King Herod’s Song”, a number where the colorful king mockingly tests Jesus’ restraint. Alvin Crawford as Caiaphas leads the disturbed Pharisees with booming authority. 

In all, this production, holds its own and then some while maintaining the integrity of the hit musical staged fifty years ago. With admirable direction by Timothy Sheader and brilliant choreography by Drew McOnie, this production is topped with a uniquely crafted set and a commanding orchestra that compliments so well the stage musicians scattered about.

But let’s get back to Jenna Rubaii. As a vital component to making this touring show the smash that it has been over the past few years, it takes a special someone to pull off the role of Mary to the extent where not only audience members are clearly captivated by each note she sings, but to also have the ability to fully immerse us into this loving, caring dynamic between herself and Jesus. Within the first couple bars of “Everything’s Alright” it was apparent this production really found something in Jenna Rubaii.

Jenna Rubaii in the North American Tour of 'Jesus Christ Superstar'. Photo by Matthew Murphy, Evan Zimmerman - MurphyMade.

After such a wonderful performance, we wanted to find out a bit more about Jenna and had the chance to toss a few questions her way.

Buzz Center Stage: It seems like the cast is really tight and works well together. What is the chemistry like off stage? 

Jenna Rubaii: We are like family. Most of us have been a part of this since 2019. We were brought into a show where the subject matter is really deep and challenging and the show itself is really demanding and requires an emotional presence - vocal and physical presence. Beyond that, I feel that we as a company are all really close because we know how important this piece is, how much weight it carries with it being the 50th anniversary. I think artistically, it already meant so much to every single one of us. But as you see in this production it is very much an ensemble piece. And the mob mentality… and I’m thinking that everyone being a part of that just amplifies the importance that every single person feels. And I think that off stage, as artists and individuals, that’s an important weight to carry. So, I think that we as human beings, we’ve been so supportive of each other on and off stage. And because of what we have gone through together- Covid - this show was really the only constant in our lives for the past three years and has made us even stronger. I think, I hope, that is clear to the audience. We had that unique experience of going through that really challenging time and the subject matter really amplifies that a bit.

Buzz Center Stage: The work of Andrew Llyod Webber is timeless…. Since you mentioned the mob mentality in this production, how do you think Jesus Chris Superstar is still relevant today - with everything that has been going on…  Is this show still as relevant? 

Jenna: Absolutely. People are always looking for a leader. Someone with some sense of direction. Someone to look to. Something to look to. Obviously, you get that with Jesus. But we have also talked about how much community is too much community? Communities are always bringing people together, but what happens when there is too much of that, it can be destructive as well. So hopefully that point gets across in our production. And obviously with the climate of everything around the world, this piece really stands true no matter if you are religious or not. 

Buzz Center Stage: About yourself… How did you start out? And can you share how your journey as an artist took you to your role in an international production of Jesus Christ Superstar? 

Jenna: I grew up in Clearwater, Florida. When I was six years old, I auditioned for an all girls song and dance troupe. It was kind of like Glee meets the Mickey Mouse Club. From six years old to eighteen - for twelve years of my life - I had the unique opportunity to perform about 30 shows a year for different corporate conventions, events, we even sang for two presidents. In my hometown, there is a lot of spring training, so I sang the National Anthem all the time for sporting events. I grew up wanting to be a pop star - and we could use handheld mics in this show. It was really fun. I didn’t get into theater until after high school. Then I decided to go to the University of Miami for college - the school for theater. After school, I immediately ended up booking the national and international tour of Green Day’s American Idiot. And I actually have a picture and need to do a side-by-side screenshot because we performed at the Cadillac Palace about 9 years ago. It’s fun to revisit some of the places that you have already been on tour. So, I did American Idiot and then I booked another show that took me abroad for a while. So, I've done a handful of tours. And I ended up booking Groundhog Day and made my Broadway debut with that. And something else that is a fun little mention is that my first introduction to musical theater was performing in the children’s chorus of Joseph and the Technicolor Dreamcoat - when that touring company came through my hometown. So, I’ve come full circle with Andrew Lloyd Webber - different biblical musicals. 

Buzz Center Stage: Wow. So, the stage is no stranger to you. You have lived much of your life on the stage. You mentioned the holding of the microphone in this production - this was an interesting choice for the show because little mic pieces are always used these days. But I didn’t miss it. I loved that they had certain characters holding the mic. It presented way more authority and more of a rock atmosphere. And I loved that touch by the director.

Jenna: Thanks! It is definitely an avenue of power. When somebody has the mic it’s an action of “this is my time, this is my story.” Of course, I think the most obvious choice for that is they wanted to bring the rock concert element to it. Everyone has opinions about the mic stands the microphones, but I feel that without them it would just feel like another theatrical piece. Whereas this blends the rock show vibe into the production. 

Buzz Center Stage: Were you a fan of the show before you were cast? 

Jenna: Of course! To be honest, I only knew the Mary material and I wasn’t super familiar with the rest of the show. But my dad is a huge fan and knows every single lyric to the show. I grew up listening to “I Don’t Know How to Love Him”. Of course, you don’t realize how much the show has impacted people. The show is 50 years strong. There was a time at the beginning of the tour when I started reading comments on Facebook and I realized just how many people were saying “this is my favorite show of all time. This is my favorite music”. And that is really when it hit me on how important a show like this is. 

And you don’t really get the opportunity to do that kind of stuff all the time. It’s really special. 

Buzz Center Stage: I’m sure your dad was thrilled when you got the role. 

Jenna: Yes! He’s been to the show many, many times. 

Buzz Center Stage: Yvonne Elliman, who plays Mary Magdalene in the original production, was she an influence? Did you try to interpret the role in your own way? How did you attack the role? 

Jenna: I try very hard to not watch or listen to other productions because I don’t want to feel like I’m copying anybody. Also, in this particular, the way Timothy (Sheader), our director, approached this production - he very much did not want us to play with any idea of who these people were. He did not want us to put a hat on it and say, “this is what I think Jesus is like,” or “this is what I think Mary is like.” So, we really approached it by bringing ourselves the piece. That made it really exciting as a performer because you don’t really get tired of the piece. But it’s also really challenging because you are being asked to bring yourself - however you are - to the table authentically every single night. And that is difficult because you still have to get the same story across and have the same intentions with the song, but you are not the same person every day. It was a very organic “bring yourself” approach. It’s a weird challenge and in a strange way makes it easier because I’m not trying to be someone else. I’m simply being me trying to convey the intent behind the song. 

Buzz Center Stage: I felt your performance was absolutely stunning. I really enjoyed your voice and your take on Mary. 

Jenna: Thank you! I really appreciate that! 

Buzz Center Stage: Ok, final question. Jesus Christ Superstar is a big deal, especially to someone like me who puts it in the top musicals of all time - What are you thinking for after this? What are your aspirations beyond Mary? 

Jenna: Oh gosh! It is a big question. I think, and I think I can speak for most of my cast members too, that this show really fulfilled me in an artistic and personal way that I hope I can continue to do more art like this. The production feels more like an art piece than a theater piece. I always want to be part of something that is thought provoking – that is really human - really brings an aspect of humanity to the table. And something that is new. I would love to be able to work on a new musical. Something with a lot of meat in it - complex and interesting. And I think that is what most of us really want to be a part of. Something that challenges you in that way and fulfills you in that way and that can also translate to audiences and make them think too. So, nothing specific, but that is what I hope to put out into the universe. But the goal is to find something that is challenging for you, exciting for you, and that fulfills you in whatever way you personally need. Everyone has their own artistic journey.

Buzz Center Stage: That sounds great. Well said. You really seem to seek out challenges. And you have accepted and met the challenge in this production as Mary. The audience can just feel it - that you aren’t just up there doing the show, but that there is a passion within you projected throughout the house

Jenna: Thank you. 

Buzz Center Stage: Thank you for talking! 

*Running through July 31^st, this is a well-crafted, must-see musical production that longtime fans and Jesus Christ newbies are sure to cherish. For tickets and/or more info click here.