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The Oak Park Festival Theatre, Oak Park's premiere Equity theatre and the oldest professional classical theatre in the Midwest, today announced the casts and production teams for its Summer 2026 productions of William Shakespeare's HAMLET and Oscar Wilde's THE IMPORTANCE OF BEING EARNEST. Presented in repertory for the first time in company history, the productions run concurrently June 30 – August 15, 2026, at Austin Gardens in downtown Oak Park. 

Though radically different in tone, HAMLET and THE IMPORTANCE OF BEING EARNEST speak to one another in striking and unexpected ways. Together, the productions explore the tension between performance and truth, asking what happens when individuals are forced to navigate the expectations imposed on them by family, society, and power. 

Staged in repertory for the first time in company history, the season invites audiences to experience two master playwrights in conversation across centuries while watching Oak Park Festival Theatre actors tackle radically different worlds of comedy and tragedy throughout the summer. 

Directed by Oak Park Festival Theatre Producing Artistic Director Peter Andersen, HAMLET runs July 1 – August 15, 2026. Called home by his father's sudden death and his mother's swift remarriage, Prince Hamlet finds the court of Denmark transformed–and deeply unsettled. When a ghost appears with a terrible accusation, Hamlet is pulled into a relentless search for truth, testing the limits of loyalty, love, and revenge. 

The cast of HAMLET features Brew Bos (Hamlet), Brenna Distassio (Laertes), Olive Gallagher (Ophelia), Pedro Jimenez (Rosencrantz), Gabriel Armstrong (Guildenstern), Patrice Egleston (Polonius), Jodi Gage (Gertrude), Josh Carpenter** (Claudius), Lucas Prizant (Horatio), and Charls Sedgwick Hall** (Ghost/Player/Gravedigger). 

Directed by Kathryn Walsh in her Oak Park Festival Theatre debut, THE IMPORTANCE OF BEING EARNEST runs June 30 – August 14, 2026. Jack Worthing leads a double life–one in the country, one in the city–while his friend Algernon Moncrieff has troubles of his own. When both men assume the name "Ernest" to win the affections of two very particular women, a web of mistaken identities, secret engagements, and delightful deceptions begins to unravel. 

The cast of THE IMPORTANCE OF BEING EARNEST features August Foreman (Algernon), Chad Bay (Jack), Sonia Goldberg (Gwendolyn), Aurora Pennepacker** (Cecily), Drew Bos (Merriman/Lane), Barbara Zahora** (Lady Bracknell), Gabriel Armstrong (Chausible), and Jodi Gage (Miss Prism). 

The productions share a repertory creative team including Patrick Starner (Production Manager), Andy Cahoon (Technical Director), Devin Cameron (Lighting Director), Evan Frank (Scenic Designer), Duncan Hon (Master Electrician), Sophia De La Torre (Board Mixer), and Jack Short (Box Office Manager). 

Oak Park Festival Theatre's paid Apprenticeship Program, now in its 16th year, provides an educational, inspirational, and career-broadening experience for post-high school and undergraduate students in theatre arts. This season's apprentices are Archer Bart, Karla Valdez, Emily York, Avery Dulak, Anya Moeske, Jo Selmeczy, Jamille Calixte, Evan Ozer, and Ella Boyden. 

Season Pass packages ($70), which include admission to both productions at a discounted rate, are available now at www.oakparkfestival.com. 

HAMLET

Written By: William Shakespeare

Directed By: Peter G. Andersen

Cast: Brew Bos (Hamlet), Brenna Distassio (Laertes), Olive Gallagher (Ophelia), Pedro Jimenez (Rosencrantz), Gabriel Armstrong (Guildenstern), Patrice Egleston (Polonius), Jodi Gage (Gertrude), Josh Carpenter** (Claudius), Lucas Prizant (Horatio), and Charls Sedgwick Hall** (Ghost/Player/Gravedigger)

Understudy Cast: Lucas Prizant (Hamlet), Avery Dulak (Laertes), Anya Moeske (Ophelia), Ben Crane (Rosencrantz/Guildenstern), Julia Rowley (Polonium/Gertrude), August Foreman (Claudius/Ghost/Player/Gravedigger), Jamille Calixte (Horatio).

Production Team: Patrick Starner (Production Manager), Andy Cahoon (Technical Director), Tessa Huber  (Stage Manager), Chrissy Roy (Assistant Stage Manager), Devin Cameron (Lighting Director), Evan Frank (Scenic Designer), Taylor Pfenning (Costume Designer) Duncan Hon (Master Electrician), Trent Jones (Scenic Painter), Sophia De La Torre (Board Mixer), and Jack Short (Box Office Manager).

** Denotes Membership in Actors' Equity Association

Dates: July 1 – August 15, 2026 (previews July 1, July 3)

Press Opening: Sunday, July 5, 2026

Schedule: Tuesdays, Wednesdays, Thursdays, Fridays, and Saturdays at 8 p.m. and Sundays at 7 p.m. Select dates only. See website for complete schedule.

Location: Austin Gardens, 167 Forest Ave, Oak Park, IL 60302

Tickets: General Admission ($40); seniors ($30); students ($15); previews ($20); children under 12 ($5). Group discounts available for groups of 10 or more. Additional booking fees apply. 

Box Office: www.oakparkfestival.com 

THE IMPORTANCE OF BEING EARNEST

Written By: Oscar Wilde

Directed By: Kathryn Walsh

Cast: August Foreman (Algernon), Chad Bay (Jack), Sonia Goldberg (Gwendolyn), Aurora Pennepacker** (Cecily), Drew Bos (Merriman/Lane), Barbara Zahora** (Lady Bracknell), Gabriel Armstrong (Chausible), and Jodi Gage (Miss Prism). 

Understudy Cast: Gabriel Armstrong (Algernon), Pedro Jimenez (Jack), Olive Gallagher (Gwendolyn/Cecily), Evan Ozer (Merriman/Lane/Chasible), Belinda Bremner (Lady Bracknell), Julia Rowley (Miss Prism).

Production Team: Patrick Starner (Production Manager), Andy Cahoon (Technical Director), Chrissy Roy (Stage Manager), Tessa Huber (Assistant Stage Manager), Devin Cameron (Lighting Director), Evan Frank (Scenic Designer), Phoebe Boynton (Costume Designer) Duncan Hon (Master Electrician), Sophia De La Torre (Board Mixer), and Jack Short (Box Office Manager).

** Denotes Membership in Actors' Equity Association

Dates: June 30 – August 14, 2026 (previews June 30, July 2, July 4)

Press Opening:  Tuesday, July 7, 2026

Schedule: Tuesdays, Wednesdays, Thursdays, Fridays, and Saturdays at 8 p.m. and Sundays at 7 p.m. Select dates only. See website for complete schedule.

Location: Austin Gardens, 167 Forest Ave, Oak Park, IL 60302

Tickets: General Admission ($40); seniors ($30); students ($15); previews ($20); children under 12 ($5). Group discounts available for groups of 10 or more. Additional booking fees apply. 

Box Office: www.oakparkfestival.com 

Metropolis Performing Arts Centre, located in the heart of downtown Arlington Heights at 111 W. Campbell St., is proud to announce its 2026-27 season launching with Ride the Cyclone, September 16 - October 18; followed by a Chicago-rooted holiday classic The Christmas Schooner, November 24 - January 3, 2027; an in-concert production of Disney's The Little Mermaid, January 27 - February 14, 2027; Chicago Premiere, The Match Game, March 3 - 28, 2027 and concluding with Rodgers and Hammerstein's masterpiece from music theatre's golden age, Rodgers and Hammerstein's Oklahoma!, September 16 - October 18, 2027.  Early bird discounted subscriptions are available now through June 5 at MetropolisArts.com/2627-season or by calling the box office at 847.577.2121, with single tickets available later this year. 

The 2026-27 season also includes a limited run of the beloved holiday tradition, A Christmas Carol, as part of the Metropolis Family Series Saturdays at 10 a.m. (December 5 - December 19) and a full-length production December 13 and 20 at 6:30 p.m. and December 24 at 2:00 p.m.

2026-27 Season Sponsors: The season show sponsor is Suburban Accents. The season Paint Sponsor is Marc Poulous Painting and Decorating. The season costume storage sponsor is Jennifer Burnidge, CLU, ChFC, RICP State Farm Agent.

All performances are held at the Metropolis Performing Arts Centre, 111 W. Campbell St. in Arlington Heights. The full Metropolis Performing Arts Centre's 2026-27 season includes, chronologically:

RIDE THE CYCLONE

September 16 - October 25, 2026

Book, Music, and Lyrics by Jacob Richmond and Brooke Maxwell

Directed by Lillian Castillo

A darkly comical musical about six teens bargaining for a second chance at life in this profound exploration of life, death, and knowing who you are. An added bonus to the Metropolis production features Director Lillian Castillo. Castillo is the original Constance on the World Premiere Cast Recording, and she also originated the role in the American premiere at Chicago Shakespeare Theater.

THE CHRISTMAS SCHOONER

November 24, 2026 - January 3, 2027

Book by John Reeger

Music and Lyrics by Julie Shannon

Directed by Patrick Tierney

A heartwarming Chicago-based musical that tells the dramatic true story of a Lake Michigan captain who risked his life to share the Christmas spirit.

A CHRISTMAS CAROL - LIMITED RUN

Metropolis Family Series: December 5 - December 19 at 10 a.m.

Full Length Production ONLY: December 13 and 20 at 6:30 p.m., December 24 at 2 p.m.

Adapted by Johanna McKenzie Miller

Original Music and Lyrics by Cory Goodrich

The holiday tradition returns to Metropolis for both the Metropolis Family Series and Metropolis Mainstage. 

DISNEY'S THE LITTLE MERMAID, a concert presentation

January 27 - February 14, 2027

Music by Alan Menken

Lyrics by Howard Ashman and Glenn Slater

Book by Doug Wright

Director to be announced

Originally produced by Disney Theatrical Group, this is a concert collaboration with Metropolis School of the Performing Arts and JAM Orchestra. Based on the Hans Christian Andersen story and the Disney film produced by Howard Ashman & John Musker and written and directed by John Musker and Ron Clements.

This in-concert production features professional and student actors backed by a full orchestra, allowing the music to shine.

CHICAGO PREMIERE

THE MATCH GAME

Written by Steven Strafford

March 3 - 21, 2027

Director to be announced

This new work, a hilarious and heartbreaking family dramedy, asks us to contend with truths we may be too afraid to name and to laugh at ones we can't change.

RODGERS AND HAMMERSTEIN'S OKLAHOMA!

April 28 - May 30, 2027

Music by Richard Rodgers

Book and Lyrics by Oscar Hammerstein II

Based on the play "Green Grow the Lilacs" by Lynn Riggs

Original Choreography by Agnes de Mille

Director to be announced

The classic, medium-defining musical. A high-spirited romantic comedy set against the backdrop of a tumultuous, yet hopeful, new era.

ABOUT METROPOLIS PERFORMING ARTS CENTRE
Metropolis Performing Arts Centre is a vibrant cultural hub that enriches the community through inspiring live performances, creative arts education, and impactful partnerships. It fosters artistic excellence, cultivates multi-generational connections, and offers inclusive experiences that engage and uplift all community members. Located in the heart of downtown Arlington Heights, Metropolis is not just a theatre; it is the cultural pulse of the area, surrounded by premier shopping, dining, and nightlife. Metropolis offers a dynamic year-round season of professional theatre, comedy, concerts, and cabaret performances along with engaging arts education for ages 3 to 85. Serving more than 65,000 patrons annually from across Chicagoland and beyond, Metropolis plays a pivotal role in the community. It provides arts education programs that support thousands of aspiring young artists, as well as community engagement initiatives like the Third Act Players (musical theatre for thespians over 50), Crescendo Chorus (for singers over 55), Flourish in the Footlights (for young artists with disabilities), and Clearbrook on Cue (for artists with disabilities). Metropolis is proud to partner with local organizations such as Endeavor Health, Arlington Heights Senior Center, and Clearbrook. Scholarships are available for students at the School of the Performing Arts to ensure access to the arts for all.

Ride The Cyclone is presented by special arrangement with Broadway Licensing Global, www.broadwaylicensing.com.

The Christmas Schooner is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI, www.mtishows.com.

Disney's The Little Mermaid is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI, www.mtishows.com.

Rodgers & Hammerstein's OKLAHOMA! is presented by arrangement with Concord Theatricals on behalf of The Rodgers & Hammerstein Organization,  www.concordtheatricals.com.

Metropolis Performing Arts Centre, located in the heart of downtown Arlington Heights at 111 W. Campbell St., is proud to announce its 2026-27 season launching with the return of Ride the Cyclone, September 16 - October 18; followed by a Chicago-rooted holiday classic The Christmas Schooner, November 24 - January 3, 2027; an in-concert production of Disney's The Little Mermaid, January 27 - February 14, 2027; the launch of a new work, The Match Game, March 3 - 28, 2027 and concluding with Rodgers and Hammerstein's masterpiece from music theatre's golden age, Rodgers and Hammerstein's Oklahoma!, September 16 - October 18, 2027. 

The 2026-27 subscription series includes Ride the Cyclone, The Christmas Schooner, Disney's The Little Mermaid, The Match Game and Rodgers and Hammerstein's Oklahoma!. Early bird discounted subscriptions are available now through June 5 at MetropolisArts.com/2627-season or by calling the box office at 847.577.2121, with single tickets available later this year.

Direct from an acclaimed run at Edinburgh Fringe and two sold-out Off-Broadway engagements, Steppenwolf Theatre is pleased to present Laura Benanti: Nobody Cares, a one-woman comedy show from the mind of Tony Award winner Laura Benanti, playing five performances only August 6 – 9, 2026 in Steppenwolf's Downstairs Theater, 1650 N. Halsted St. in Chicago. Tickets ($79* – $125*) are now on sale at steppenwolf.org or by calling the Box Office at (312) 335-1650. *includes $10 processing fee

Known for her dazzling Broadway performances and razor-sharp wit, Benanti takes the stage to share her hilarious, heartfelt and sometimes brutally honest takes on motherhood, people pleasing and the joys of aging. Blending side-splitting storytelling with original songs, New York Times Critic's Pick Nobody Cares is a love letter to recovering people pleasers, mothers and anybody working on themselves.

Nobody Cares is created by Laura Benanti with songs co-written by Todd Almond and direction by Annie Tippe. The Steppenwolf presentation marks the first stop on a national tour for the project following a summer run at London's Underbelly Soho this July, with further stops to be announced. For more information, visit nobodycaresisacomedy.com.

Performance Schedule:

Thursday, August 6 at 7:30 pm
Friday August 7 at 7:30 pm
Saturday, August 8 at 3 pm & 7:30 pm
Sunday, August 9 at 3 pm

About the Artists

Laura Benanti (Star and Creator):

"The divine Laura Benanti appears to have reached a point where there's nothing she can't do..."

–Hollywood Reporter

Tony Award winner Laura Benanti is a highly celebrated stage and screen actress. Ms. Benanti debuted her critically acclaimed comedy show Laura Benanti: Nobody Cares at the Minetta Lane Theater in NYC. Ms. Benanti created, wrote (songs co-written with Todd Almond) and starred in the show, which earned rave reviews and was chosen as a New York Times Critics' Pick. The show then had a sold out run at the Edinburgh Fringe Festival in 2025 with encore performances in London and Berkeley. 

Ms. Benanti can currently be seen as a series regular in the role of 'Cindy' on the acclaimed Paramount+ series Mayor of Kingstown, starring opposite Jeremy Renner. Ms. Benanti co-starred in the hit comedic film No Hard Feelings with Jennifer Lawrence and Matthew Broderick. Ms. Benanti's iconic impression of Melania Trump on The Late Show with Stephen Colbert has earned praise from across the industry. Other comedic work includes regular appearances on Elsbeth and Inside Amy Schumer. In television, Ms. Benanti has played dynamic characters in Younger, The Gilded Age, Nashville, Supergirl and Gossip Girl. Ms. Benanti earned rave reviews for her portrayal of a grieving widow in Netflix's film Worth, starring opposite Michael Keaton, Stanley Tucci and Amy Ryan.

In the theater, Ms. Benanti has been nominated for 5 Tony Awards. She took Broadway by storm at the age of 18 as Maria in The Sound of Music and has subsequently starred in ten more Broadway shows (musicals, straight plays, comedies and dramas), including Into the Woods, Nine, (opposite Antonio Banderas), Gypsy (for which she won a Tony Award), She Loves Me, My Fair Lady and Steve Martin's Meteor Shower opposite Amy Schumer and Keegan-Michael Key.

Todd Almond (Songs Co-Writer) is an acclaimed performer, songwriter and playwright. His solo show I'm Almost There was hailed by The New York Times as "a work of wonder," and his recent Broadway performance in Girl from the North Country was praised as "stunning" by The Washington Post and "roof-raising, uplifting, and invigorating" by The Hollywood Reporter. Almond co-wrote the songs for and music-directed Audible's hit comedy Laura Benanti: Nobody Cares, and also appeared opposite Ms. Benanti as Gideon Wolfe in the HBO Max reboot of Gossip Girl. His musical adaptation of The Odyssey, produced at Shakespeare in the Park's Delacorte Theater in Central Park, was hailed by The New York Times as "brash, funny and heart-stirring." Todd recently toured the U.S. in his original musical Kansas City Choir Boy, co-starring rock icon Courtney Love; Rolling Stone called the piece "awesome, slyly punk rock." He also starred in three of his original musicals at the Delacorte Theater in Central Park: The Tempest, The Winter's Tale and The Odyssey. His musical Girlfriend, based on the Matthew Sweet album of the same title, has become a perennial favorite for theater companies across the U.S. and in Japan. His past collaborators include Sarah Ruhl (Melancholy Play: A Chamber Musical), Jenny Schwartz (Iowa), Laura Benanti (In Constant Search for the Right Kind of Attention), Sherie Rene Scott (Piece of Meat), Kelli O'Hara (Live at Carnegie Hall) and Andrew Rannells (Live from Lincoln Center). As a composer and orchestrator, Almond has written and arranged music for Noises Off on Broadway, Iowa at Playwrights Horizons, Fcking A* at Signature Theatre, How to Transcend a Happy Marriage at Lincoln Center Theater and the film adaptation of Michael John LaChiusa's Hello Again. Other New York acting credits include Stage Kiss by Sarah Ruhl at Playwrights Horizons, People Are Wrong at the Vineyard and Law & Order: SVU.

Annie Tippe (Director) is an award-winning director and creator of new work, music theater and film. Off-Broadway: Octet (World Premiere; Signature. Lortel Award: Best Direction, Best Musical), Three Houses (World Premiere; Signature. Lortel Award: Best Musical), Ghost Quartet (World Premiere; Bushwick Starr. Norton Award: Best Visiting Production), Magnificent Bird / Book of Travelers (Playwrights Horizons), Your Own Personal Exegesis (LCT). Regional: HUZZAH! (World Premiere; Old Globe), Life After (Ed Mirvish CAA; Goodman, Jeff Award Nom), COWBOY BOB (World Premiere; Alley), Cult of Love (World Premiere; IAMA), POTUS (Berkeley Rep). Film: Help Me Mary (Lower East Side Film Fest; Best Narrative Short), Egg Timer (Austin Film Fest). Former Ars Nova Director-in-Residence, Drama League Directing Fellow, Williamstown Directing Corps. Upcoming: Cyrano at Old Globe; Babysitters Club with Mark Sonnenblick and Kate Weatherhead. annietippe.com

Nobody Cares is produced by rigor + ruckus, Jenny Gersten and Ashley Melone & Nick Mills in association with LD Entertainment, Avadon Broadway LLC, Creative Partners Productions and Steve and Cindy Chao. To learn more about other cities to see Nobody Cares, visit nobodycaresisacomedy.com.

Based on Laura Benanti: Nobody Cares, an Audible Original.

Accessibility:

Steppenwolf is committed to making the theatergoing experience accessible to everyone. Assistive listening devices are available for every performance and all our spaces are equipped with an induction hearing loop. Our building features wheelchair accessible seating and restrooms, push-button entrances, a courtesy wheelchair and all-gender restrooms, with accessible counter and table spaces at our bars. For additional information regarding accessibility, visit steppenwolf.org/access. If you have questions or would like to make a specific request, email This email address is being protected from spambots. You need JavaScript enabled to view it. or call our box office at (312) 335-1650.

Chicago City Opera (CCO) presents one of late-Romantic composer Richard Strauss' most beloved works, Der Rosenkavalier. Composed by Strauss to a libretto by Hugo von Hofmannsthal, Der Rosenkavalier requires massive forces both on stage and in the pit, and thus, somewhat of a rarity for traditional opera companies. In CCO's signature pared down style, the grand opera is stripped down to its raw essentials, highlighting the complex relationships, sophisticated humor, and nuanced characters at the heart of this work. Set in a 1980's American yachting community, CCO's production brings Strauss' deceptively poignant comedy to audiences in a uniquely intimate setting. Der Rosenkavalier is presented in two performances only: Friday, June 5@ 7:00 PM at DANK Haus German American Cultural Center (4740 N Western Ave, Chicago, IL 60625) and Sunday, June 7@ 7:00 PM at Fulton Street Collective (6273, 1821 W Hubbard St Unit 307, Chicago, IL 60622). General admission tickets are $30 with preferred seating for $40 and select VIP tickets for $100. Tickets are on sale now at chicagocityopera.com.

"Der Rosenkavalier is one of those rare works that, with the help of Strauss' lush Romantic orchestration, manages to deliver both genuine comedy and compelling drama simultaneously. CCO's production gives audiences the opportunity to get up close and personal with this sweeping masterpiece," said CCO Artistic Director Alexandra Enyart. "We are looking forward to returning to DANK Haus German American Cultural Center to bring this masterwork of German opera to life, and partnering for the first time with Fulton Street Collective for our second performance."

Conducted by CCO Artistic Director Alexandra Enyart with stage direction by Rose Freeman The cast for Der Rosenkavalier is soprano Alannah Spencer as The Marschallin, mezzo-soprano Molly Clementz as Octavian, baritone Keaton Payne as Baron Ochs, soprano Al Kassouf as Sophie, baritone Noah Gartner as Faninal, soprano Ariel Emma as Marianne, tenor Jose Vargas as Valzacchi, and mezzo-soprano Angela Born as Annina. Pianist Jordan Crice will serve as the orchestra. Der Rosenkavalier will be performed in German with English  supertitles.

About Chicago City Opera

Founded in 2019 under the name Ouroboros Opera, Chicago City Opera is a Chicago based non-profit dedicated to providing high-quality performances of standard operatic repertoire in intimate spaces, making opera accessible to audiences and performers. CCO's unique and egalitarian approach to production utilizes a collaborative model in which all the performers on stage invest as equal shareholders to produce an opera. CCO continues to be committed to the community of Chicago and is dedicated to creating the best experiences possible for our community on both sides of the stage.

American Blues Theater, under the continued leadership of Executive Artistic Director Gwendolyn Whiteside, announces its 2026-2027 Season, including the world premieres of Black Girl from a White Suburb by Tania Richard, directed by J. Nicole Brooks, and Ken Urban's Blue Ink Award winner The Conquered, directed by Jonathan Berry. The season includes the Chicago Premiere of UHURU by Gloria Majule, directed by Mikael Burke and the 25^th Anniversary of the beloved holiday favorite It's a Wonderful Life: Live in Chicago, directed by Gwendolyn Whiteside. All programming is produced at American Blues Theater's home at 5627 N. Lincoln Ave. in Chicago.

Subscriptions to the 2026-2027 Season are available through the American Blues Theater box office, www.americanbluestheater.com, (773) 654-3103.

"We are thrilled to announce Season 41, featuring an entire lineup of work developed at American Blues Theater," comments Executive Artistic Director Gwendolyn Whiteside. "This season includes two World premieres, one Chicago premiere, and the 25th Anniversary of our beloved holiday staple, It's a Wonderful Life: Live in Chicago! Each production explores themes of identity and the complex reconciliation of self-perception versus how we are viewed by others."

The 2026-2027 Season includes:

World Premiere

Black Girl from a White Suburb

By Artistic Affiliate Tania Richard

Directed by J. Nicole Brooks

September 4 – October 4, 2026

Press Opening: September 10, 2026 at 7:00pm

Tour-de-force solo show by artistic affiliate Tania Richard. Growing up in an all-white Chicago suburb, she spent her days dodging microaggressions, striving to fit in, and yearning to see herself reflected. Her transformation began when cast as The Caterpillar in "Alice in Wonderland." Blending cautionary tales, social commentary, and humor, Tania takes the leading role in a culture that often relegates Black women to supporting characters

25^th Anniversary Production of

Chicago's Original Holiday Hit

It's a Wonderful Life: Live in Chicago!

Based on the film by Frank Capra

Directed by Executive Artistic Director Gwendolyn Whiteside

Music Direction by Ensemble Member Michael Mahler

November 19 - December 27, 2026

Opening night: November 22, 2026 at 2:30pm

George Bailey—the Everyman from small town Bedford Falls whose dreams of escape and adventure were stopped by family obligation and civic duty—has fallen onto desperate times. Only a miracle can save him from despair. Told as a radio play with original music and classic holiday carols, it's "the don't miss show of the season" (Chicago Tribune). The annual production will feature favorite American Blues actors.

Chicago Premiere

UHURU

By Gloria Majule

Directed by Mikael Burke

April 2 – May 9, 2027

Press Opening: April 8, 2027 at 7:00pm

An unlikely foursome ascends Mount Kilimanjaro in this sharp satire. The dramedy follows a tour guide, Tanzanian-American tourist, and two missionaries as they make their way to the "Roof of Africa." They must confront questions of identity, access, and who deserves a place on the mountain. Featuring American Blues artists Manny Buckley, Ian Paul Custer, William Anthony Sebastian Rose II,

 and J.G. Smith.

World Premiere

The Conquered

By Ken Urban

Directed by Jonathan Berry

June 11 – July 18, 2027

Press Opening: June 18, 2027 at 7:00pm

Jane is adrift. She suffers a recurring nightmare in which a young man breaks into her house. Her husband recommends that she speak to someone about her growing anxiety. Jane finds a therapist who could help, but her quest leads to a dangerous discovery. Featuring American Blues ensemble member Editha Rosario-Moore. Winner of the 2024 Blue Ink Award for playwriting.

Ken Urban notes, "It's such an honor to win for The Conquered. It's a story that has haunted me ever since I first dreamed it up after reading THE NEW YORKER article that inspired it. Writing a thriller for the stage inspired by advances in neurotechnology always felt a little dangerous. Would an audience be into this dark mysterious story? This recognition's greatest gift is that it means that Jane's story resonates with people and that's the thing every playwright is always hoping for."

Public Programming and Special Events

American Blues Theater is excited to offer audiences even more ways to engage with artists, neighbors and the larger community through its two programs The Commons and @Home Accessibility Series, July 2026-June 2027.

The Commons features readings, live concerts, open mics, game nights, town halls and more at American Blues. The @Home Accessibility Series features readings, live concerts, and town halls from the comfort of home via Zoom. Featuring the talents of the American Blues ensemble and artistic affiliates.

The Rubber Banned Book Club chooses one banned book from PEN America's list to read, discuss, and advocate for its bounce back into circulation. We concentrate on literature that made its way to stage. Join our book club to hear our award-winning artists read and stay for the discussion. We host both in-person and live-streamed gatherings for national members. Admission is free. Growth is priceless.

Arts Education programs include:

Classes for the Masses offers a variety of classes for all ages.  Learn an instrument, improve your public speaking, refresh your audition monologue and resume, or sharpen your writing skills. All our incredible instructors are Ensemble members, Artistic Affiliates, or staff members. Classes are self-paced, individual instruction for the curious beginner, the industry insider, student, or the continuing-education adult. The location (in-person, via Zoom, email, or phone call) will be decided by your needs.

The Check it Out Project in partnership with the Budlong Woods Public Library. The most popular (public domain) children's book checked-out from the Budlong Woods Public Library annually will be adapted and performed by American Blues artists. The adaptation will be presented as an audio play with Foley sound FX and live score atop our holiday set of It's a Wonderful Life: Live in Chicago!

School Matinees offer a limited number of free school matinees throughout the year for students of all ages. Students receive complimentary study guides, in-class visit from educators and select artists, and opportunity to participate in a post-performance discussion with the actors.

Ripped in Schools Our educators, using Illinois standards for civics, social studies, creative writing, and public speaking, will engage 5th-8th grade students during in-classroom instruction for an experience they won't forget. Students will choose an event ripped from today's headlines and write a short play.

Selected plays will be performed by professional actors in the annual Ripped Festival.

For the most up-to-date programming schedule or to purchase tickets, visit www.americanbluestheater.com or email This email address is being protected from spambots. You need JavaScript enabled to view it..

Additional programming will be announced throughout the season.

Currently On Stage

Hit Jukebox Musical

Always...Patsy Cline

Created by Ted Swindley

Band and Vocal Orchestrations by August Eriksmoen & Tony Migliore 

Directed by Harmony France 

Music Direction by Ensemble Member Michael Mahler 

Playing through June 7, 2026

Tickets: $34.50-$64.50, www.americanbluestheater.com, (773) 654-3103

This musical play, complete with down home country humor and big-hearted emotion, includes hits "Crazy", "I Fall to Pieces", "Sweet Dreams", "Walkin' After Midnight" and more! Starring Ensemble member and award winner Liz Chidester as Patsy Cline and featuring guest artist Molly Hernández as Louise.  

About American Blues Theater

Winner of the prestigious National Theatre Company Award from American Theatre Wing (Tony Awards). American Blues Theater is an Ensemble of artists committed to producing new and classic diverse stories that ask the question: "What does it mean to be American?"

The diverse and multi-generational artists have established the second-oldest professional Ensemble theater in Chicago. As of 2025, the theater and artists received 246 Joseph Jefferson Awards and nominations that celebrate excellence in Chicago theater and 44 Black Theatre Alliance Awards. The artists are honored with Tony Award and Pulitzer Prize nominations, Academy Awards, Golden Globe Awards, Emmy Awards and numerous other accolades.  

The Goodman Theatre’s Covenant announces York Walker as a playwright ascending rapidly into the highest tier of American theater. This is not simply an impressive new work; it is the kind of play that reminds audiences why live theater remains uniquely capable of unsettling the spirit. Walker has written something rare: a Southern Gothic thriller steeped equally in folklore, faith, desire, and dread. Under the extraordinary direction of Malkia Stampley - arguably some of the finest work of her already remarkable career - the production unfolds with hypnotic control and devastating emotional precision.

Set in 1936 Georgia, Covenant begins with Ruthie’s haunting declaration: “Everybody got a secret.” That line becomes the pulse beneath the entire production. Secrets saturate every corner of Walker’s world. Desire hides beneath scripture. Fear hides beneath righteousness. Love hides beneath suspicion. And every revelation threatens to crack the play wide open.

Walker’s writing is lyrical without becoming self-conscious, poetic without sacrificing danger. His dialogue moves like music - earthy, funny, intimate, and increasingly ominous. The play’s supernatural undertones never overpower its humanity. Instead, Walker roots every eerie moment in emotional truth. The result is a suspenseful theatrical experience that genuinely keeps the audience on edge. Spooky, suspenseful plays this good are rare. Even rarer are ones disciplined enough not to betray themselves too early. The less one knows going in, the better. This production rewards surrender.

Stampley directs with astonishing confidence. She understands that terror often lives in silence, stillness, and suggestion. The production breathes with tension. Every pause feels loaded. Every gesture seems to carry spiritual consequence. The prayer sequences become almost ritualistic choreography, while scenes of intimacy hum with equal parts longing and danger. Stampley masterfully balances the play’s realism and its creeping nightmare logic without allowing either to overpower the other.

The production’s technical elements are equally exceptional. Set designer Ryan Emens creates a sparse wooden structure dominated by a cross front and center, a deceptively simple design that transforms effortlessly, with the addition of a few pieces of furniture, into both a humble church and a family home. Costume designer Evelyn M. Danner has clearly done her homework; the costumes feel authentically rooted in the period without ever appearing overly theatrical. The lighting design by Gina Patterson becomes an entirely new character in the production. Patterson’s work shapes mood and terror with remarkable precision, particularly during a stunning sequence involving thunder, lightning, and pouring rain that sends a chill through the audience. Complementing it beautifully is Dee Etti-Williams’ sound design, which works in haunting tandem with the lighting to create an atmosphere of gathering doom.

Ashli René Funches in Covenant at Goodman Theatre. Photo by Hugo Hentoff.

The all-Chicago cast is exceptional from top to bottom.

Debo Balogun delivers magnetic work as Johnny “Honeycomb” James, a wandering blues musician whose charm conceals depths the audience is never fully certain it understands. Balogun’s performance is seductive, wounded, and quietly terrifying all at once. He understands the danger of charisma.

As Ruthie, Ashli Renè Funches gives the production its emotional anchor. Her narration draws us into the story with heartbreaking vulnerability, and her slow awakening to the darkness surrounding her becomes deeply affecting.

Jaeda Lavonne is luminous as Avery, a young woman desperate to escape the suffocating boundaries of her world. Lavonne beautifully captures Avery’s hunger for freedom while allowing fear and spiritual confusion to shadow every choice she makes.

As Violet, Felicia Oduh brings sharp intelligence, humor, and emotional volatility to the stage. Violet often functions as the play’s skeptic and truth-teller, and Oduh gives her a raw immediacy that keeps the character from becoming merely symbolic.

Then there is Anji White as Mama. White disappears entirely into the role. Her performance is extraordinary in its complexity - unyielding, terrifying, wounded, and deeply tragic. Mama could easily become a caricature of religious severity, but White reveals the grief and horror buried underneath her righteousness. Her monologues land like thunderclaps.

What makes Covenant especially impressive is how fully it trusts the audience. Walker refuses easy answers. The play constantly asks whether evil is supernatural, inherited, psychological, or self-created. Is the devil real in this world? Or do people simply need something external to blame for the violence they carry inside themselves? The play never simplifies those questions.

And then comes the ending.

Do not spoil it for yourself. Do not let anyone spoil it for you. The audience will not see it coming.

Covenant is beautifully written, beautifully acted, and beautifully told. It lingers long after the lights go down, like a whispered warning you cannot quite forget.

HIGHLY RECOMMENDED

When: Through May 31

Where: Goodman Theatre, 170 N. Dearborn St.

Runtime: 140 minutes (no intermission)

Tickets: $24-$44

Info: www.goodmantheatre.org

Box Office: 312-443-3800