Displaying items by tag: chicago theatre

The Auditorium (Chicago’s landmark stage at 50 E. Ida B. Wells Drive) proudly presents comedian Nate Jackson as part of Jackson’s international “Big Dog Tour”. The two-performance evening takes place on Friday, December 4, 2026 at 7:30 PM and a late-night show added at 11 PM at The Auditorium, 50 E. Ida B. Wells Dr. Tickets on sale now at auditoriumtheatre.org or by calling The Auditorium’s Ticket Service Center at 312.341.2300.

Nate Jackson is one of the fastest-rising stars in comedy, with over 4 million TikTok followers and 700 million global views. Known for his viral content and electric stage presence, he’s currently selling out theaters across the U.S. and Australia on his Big Dog Tour. 

“We couldn’t be more excited to welcome Nate Jackson and his Big Dog Comedy Tour to The Auditorium for two shows,” said Rich Regan, CEO of The Auditorium.  “As we continue to expand the variety of comedy experiences we bring to our stage, welcoming a rising star like Nate is an exciting step forward. The Auditorium has always been a place where people come together to share unforgettable experiences, and we look forward to bringing Chicago audiences together for an evening of laughter with one of comedy’s most exciting emerging talents.”

On July 8th, 2025 Nate released his one-hour Netflix special, Nate Jackson: Super Funny which premiered to #3 on the Netflix Top 10. In his high-energy debut special, comedian Nate Jackson delivers bold, unfiltered comedy as he tackles everything from racially questionable cookies to everyday absurdities. Known for his sharp wit and undeniable charisma, Jackson seamlessly flows between masterfully honed material and his unique style of hilarious crowd work—fearlessly diving into taboo topics and leaving no subject off-limits.

In addition to his stand-up, Nate is currently shooting season 2 of Apple’s Bad Monkey and recurred in Peacock’s The Paper. He also shared the screen with Keanu Reeves, Seth Rogen, and Keke Palmer in Aziz Ansari’s Lionsgate feature Good Fortune. He previously had a recurring role on NBC’s hit series Young Rock as The Junkyard Dog and has made memorable appearances on Spirited (Apple TV+), Curb Your Enthusiasm (HBO), Nick Cannon Presents: Wild’N Out (MTV), All Def Comedy (HBO), Kevin Hart’s Hart of the City (Comedy Central), and Comic View (BET).

About The Auditorium

The Auditorium, a National Historic Landmark in the heart of downtown Chicago, is a nonprofit cultural institution dedicated to bringing people together through extraordinary performances, education, and community engagement. Since opening in 1889, The Auditorium has been a defining part of Chicago’s cultural and architectural legacy, presenting world-class music, dance, theater, and a broad range of artistic and civic programming within its iconic building designed by legendary architects Louis Sullivan and Dankmar Adler. Located at 50 E. Ida B. Wells Drive - the center of Chicago, The Auditorium is committed to preserving and protecting its extraordinary historic home through ongoing preservation, restoration, stewardship, and care. Honoring its remarkable past while creating new experiences for audiences today, The Auditorium continues to inspire and connect people from Chicago and around the world.  For more information and a complete calendar of events, visit AuditoriumTheatre.org.

Since premiering at Court Theatre in 2018, Manual Cinema's Frankenstein has stood as one of Chicago's most remarkable theatrical achievements. Returning for just five performances at the Studebaker Theater, the work remains every bit as mesmerizing today as when theatergoers first encountered it. More than an adaptation of Mary Shelley's classic Gothic novel, Frankenstein is a work of brilliant art, a breathtaking fusion of theater, film, music, and visual storytelling that pushes the boundaries of what live performance can accomplish.

Few companies blur the line between theater, cinema, and visual art as completely as Manual Cinema. Through the collective's signature combination of shadow puppetry, miniatures, projected imagery, live acting, original music, and meticulously crafted sound design, Frankenstein unfolds with the wonder of watching a dream take shape in real time. Perhaps most impressive is the dual experience the company creates, allowing audiences to become immersed in the finished cinematic image while simultaneously appreciating the artistry required to produce it.

What makes this version so compelling is its refusal to settle for a straightforward retelling. Rather than focusing solely on Victor Frankenstein and his doomed creation, the piece intertwines the familiar narrative with the life of Mary Shelley herself. Conceived and directed by Drew Dir and devised by Dir, Sarah Fornace, and Julia Miller, the work finds unexpected psychological depth in the parallels between creator and creation. The result is an emotionally resonant exploration of grief, ambition, responsibility, and the mysterious spark behind artistic creation. Shelley's experiences become inseparable from the tale she imagined, giving fresh dimension to a story many may think they know by heart.

Manual Cinema's Frankenstein. Photo courtesy Elly White.

Manual Cinema's technical accomplishments remain astonishing. The performers serve simultaneously as actors, puppeteers, camera and overhead projection operators, and illusionists, constructing intricate visual worlds before our eyes. Every shadow, every miniature landscape, and every carefully choreographed movement contributes to a cinematic language that feels both innovative and timeless. At times, the work's rich layering of imagery demands careful attention, but the payoff more than justifies the investment. Watching the mechanics at work only deepens one's appreciation for the craftsmanship involved. The production's richly imagined visual language owes much to an exceptional design team. Shadow Puppet Design by Drew Dir and Liza Breit, Projections and Scenic Design by Rasean Davante Johnson, and 3D Puppet Design by Liza Breit provide the foundation for the show's arresting imagery. Lighting Design by Claire Chrzan adds atmosphere and dramatic texture, while Costume and Wig Design by Meka van der Ploeg and Prop Design by Lara Musard enrich the world with thoughtful detail and period character.

Sarah Fornace is a force and anchors the evening with beautifully realized portrayals of both Victor Frankenstein and Mary Shelley, illuminating the parallels between the ambitious scientist and the visionary author who imagined him. Kara Davidson proves equally compelling as both the Creature and Elizabeth Frankenstein, bringing remarkable humanity and quiet complexity to each role. Together, their performances ensure that beneath the show's dazzling technical achievements beats a deeply human heart.

The evocative original score and sound design by Ben Kauffman and Kyle Vegter prove equally vital, transforming every scene into an immersive sensory experience. The music heightens the emotional stakes while the live effects establish an atmosphere that ranges from intimate reflection to Gothic grandeur. There is also something undeniably enjoyable about watching the musicians positioned around the stage assemble the show's haunting sonic landscape in real time, revealing yet another layer of Manual Cinema's theatrical ingenuity. The visual and sonic elements combine to produce an experience that feels as sweeping as a feature film while maintaining the immediacy and vulnerability of live theater.

That artistry was especially evident from our seats directly in front of percussionist Justin Peters (performing the night I attended), whose work became a captivating attraction in its own right. Surrounded by towering xylophones and an eclectic collection of suspended objects that ranged from hubcaps and planters to what appeared to be a kitchen sink, Peters coaxed an astonishing variety of sounds from each piece, his dexterity and precision adding another captivating layer to Manual Cinema's intricate theatrical machinery. The variety of instruments on display is every bit as fascinating as the sounds they produce. 

Sarah Fornace as Mary Shelley in Manual Cinema's Frankenstein. Photo by Drew Dir.

One of the evening's greatest delights came after the final curtain. Guests were invited to join the actors, musicians, projectionists, and artistic team onstage to discover firsthand how Manual Cinema brings its signature illusions to life. Visitors could handle puppets, experiment with projectors, appear on camera, and watch their own silhouettes become part of the visual storytelling. Beyond the opportunity to ask questions, take photographs and videos, and interact with the artists, the experience beautifully reinforced one of the company's central ideas: understanding the process does not diminish the magic - it makes it even more extraordinary.

Yet for all its technical and musical wizardry, Frankenstein never loses sight of its humanity. At its heart lies a poignant examination of loneliness, longing, and the desperate need for connection. The Creature emerges not merely as a monster but as a profoundly sympathetic figure whose search for acceptance speaks across centuries. Likewise, the portrayal of Mary Shelley reveals the often-painful relationship between art and life, suggesting that creation itself can be both beautiful and terrifying.

The Halloween season offers no shortage of spooky entertainment, but few works achieve the artistic depth, technical ingenuity, and emotional impact of Manual Cinema's Frankenstein. Years after its debut, it remains a defining achievement of Chicago theater and a shining example of the city's creative excellence. For those fortunate enough to experience one of its five performances only, October 28-November 1, 2026, at the Studebaker Theater, this extraordinary presentation serves as a reminder that great theater can still inspire awe.

Frankenstein is more than a theatrical event. It is a masterwork of visual storytelling, a triumph of imagination and technique, and one of the most distinctive theatrical works to emerge from Chicago in the past decade.

Manual Cinema returns to the Studebaker Theater with A Christmas Carol for a limited engagement December 18-27.

Highly Recommended.

Studebaker Theater in the Fine Arts Building

75 minutes – no intermission

Tickets and information: Fine Arts Building - FrankensteinFrankenstein

On Monday, October 26, 2026, the Harris Theater for Music and Dance became a gathering place for Chicago’s artistic community as 3Arts celebrated the artists whose creativity, commitment, and vision enrich the cultural life of our city and state. The 2026 3Arts Awards Celebration was more than an awards ceremony. It was an evening devoted to recognizing the people who make art possible, nurture the next generation of artists, and remind us why the arts remain essential to our communities.

The evening began with a welcoming reception featuring delicious canapés, drinks, and lively conversation. Honorees mingled with guests and fellow members of Chicago’s arts community, creating an atmosphere of genuine camaraderie. There was a palpable sense of excitement in the room, but also something more meaningful: an appreciation for the artistic labor being celebrated and the people behind it.

Guests were eventually ushered into the auditorium, where the formal celebration opened with How I Found My Feet Again, choreographed and performed by Keyierra Collins, a 2020 3Arts Awardee. The performance offered an inspiring introduction to an evening centered on artistic expression, perseverance, and the power of creativity.

Photos by Richard Rankin

Celebrating Chicago’s Artists

The program recognized eleven recipients of the 2026 3Arts Awards, each receiving $30,000 in unrestricted funding to support their artistic practice.

The awardees represented a remarkable range of disciplines. In Dance, the honorees were Kara Brody and Silvita Diaz Brown. Music was represented by Tahirah Whittington and Marvin Tate. In Teaching Arts, the recipients were John Chapman and Wisdom Baty. The Theater awardees were Ana Santos and Tina Fakhrid-Deen, while Visual Arts was represented by Luca Cruzat, Diana Solís, and Sandie (Chun-shan) Yi.

Together, these artists demonstrate the breadth of creative work happening throughout the Chicago region. Their disciplines may differ, but their recognition reflects a shared commitment to making art that engages, challenges, educates, and inspires.

The celebration also recognized ten recipients of the Next Level Awards, which provide $50,000 in unrestricted funding to artists who have previously received a 3Arts Award. The program reflects an important understanding: supporting artists should not be a one-time gesture but an ongoing investment in their creative development.

The Next Level Awardees in Visual Arts were Cecilia Beaven, Brenda Torres-Figueroa, and Farah Salem. Teaching Arts recipients were Stephanie Manriquez, Lional “Brother El” Freeman, Sydney Chatman, Meagan McNeal, and Wanees Zarour. Sandra Delgado received a Next Level Award in Music, and Miranda Gonzalez was honored in Theater.

By investing in artists at different stages of their careers, 3Arts recognizes that creativity needs room to grow. Financial support gives artists the freedom to experiment, take risks, pursue new projects, and continue contributing to the cultural life of their communities.

The evening also acknowledged the recipients of the Make a Wave Awards, an artist-to-artist program through which previous 3Arts Awardees select fellow artists to receive $2,000 grants. This peer-driven approach reinforces the spirit of generosity and mutual support that makes Chicago’s artistic community so vital.

Photos by Richard Rankin

The People Behind the Celebration

The evening’s presenters and organizers helped guide the celebration. Sidney Mori Burnett, 3Arts Director of Programs, Lauren Steinberg, Manager of Programs,and  Shariba Rivers, a former awardee represented the organization’s commitment to supporting artists. Executive Director Cat Tager joined William Estrada, a 2024 Next Level Awardee, in helping bring attention to the artists being honored. Event co-chairs Alicia Del Real and Remberto Del Real, a 3Arts board member, also contributed to the evening’s proceedings. DJ Lady D served as an event co-chair.

Their participation underscored that supporting the arts is a collective undertaking. Behind every award is an organization, a network of supporters, and a community that believes artists deserve the resources and recognition necessary to sustain their work.

The musical interludes added another dimension to the celebration. Sparkimami, a  jazz fusion band, brought an energetic presence to the program, while The Sandra Delgado Experience, featuring Sandra Delgado on vocals, captured the festive spirit of the evening. With its ensemble of musicians, the performance offered a joyful reminder that music can transform a formal ceremony into a shared celebration.

An Evening of Art, Community, and Generosity

After the honorees had been acknowledged, guests returned to the party room for dinner. The buffet offered a satisfying selection of dishes, including fresh garden salad,  roasted sweet potatoes, lentil cakes, pumpkin ravioli, and smothered chicken. Dessert followed with chocolate-covered pretzels, pâte de fruits, and assorted cookies.

The meal was another opportunity for guests to continue conversations, congratulate the awardees, and celebrate the artistic community that had gathered under one roof. There was something fitting about ending the evening around a shared meal after spending the night recognizing the work that brings people together.

What distinguished the 2026 3Arts Awards Celebration was not simply the number of artists honored or the financial support distributed. It was the recognition that artists contribute to the life of a city in ways that extend far beyond the stage, gallery, classroom, or rehearsal room. They preserve histories, challenge assumptions, cultivate imagination, and help us understand one another.

In a city as culturally rich as Chicago, that work deserves to be celebrated—and supported.

The evening at the Harris Theater accomplished both with warmth and generosity. From Keyierra Collins’s opening performance to the musical interludes, the recognition of the awardees, and the convivial after-party, the celebration honored not only individual achievement but also the collective spirit that sustains the arts.

Help Keep Chicago’s Arts Thriving

The celebration also serves as a reminder that supporting artists is a responsibility we all share. The talent celebrated that evening does not flourish on creativity alone. Artists need resources, opportunities, and the freedom to develop their work. Through its awards and programs, 3Arts helps provide that support, investing in artists across the performing, teaching, and visual arts.

You can help keep Chicago’s artistic community thriving. If you believe artists deserve the opportunity to create, teach, experiment, and inspire future generations, consider making a donation to 3Arts. Every contribution helps sustain an organization committed to supporting artists and strengthening the cultural life of our city.

To learn more or to make a contribution, visit 3Arts.org/support.

The 2026 3Arts Awards Celebration was a wonderful tribute to the artists who make Chicago a more vibrant, thoughtful, and imaginative place to live. The next step is to ensure that their work continues—not just through applause and recognition, but through the ongoing generosity of a community that understands the value of the arts.

The nonprofit Guarneri Hall, a state-of-the-art, custom-built classical music venue in the heart of downtown Chicago at 11 E. Adams St., proudly announces Revolutions, a two-day music series exploring the intersections of political, social, technological, and musical change at two pivotal moments in world history. Two distinct programs take place on Wednesday, November 11 and Thursday November 12, 6:30 p.m., focusing on the French Revolution in 1796 and the Russian Revolution and post-World War I in 1918, respectively. Audiences will hear works by Mozart, Haydn, Beethoven, Ravel, Stravinsky and Janáček, paired with lectures that provide socio-political context of the eras. Adding to the intimacy, each musical evening includes a post-concert reception where audience members and performers can interact over quality libations and hors d’oeuvres. Tickets can be purchased at guarnerihall.org, with general admission priced at $50 and student discounts available.

Revolutions 1 explores the music and politics of 1796, in the midst of the First Industrial Revolution and the aftermath of the French Revolution. The program includes Wolfgang Amadeus Mozart (1756-1791): Sonata for Violin and Piano in E minor, K. 304; Joseph Haydn (1732-1809): Piano Trio No. 35 in C major, Hoboken XV:21; Ludwig van Beethoven (1770-1827): Piano Trio Op.1, No. 3. Performing artists are Chelsea Wang, piano; Nathan Meltzer, violin; and Alexander Hersh, cello. Violinist and violin expert Stefan Hersh will explain how changes in bow design led to changes in music that helped to usher in the heightened emotional range of the Romantic era that followed, and how post-revolutionary Paris was home to a revolution in the development of the bow.

Revolutions 2 zooms in on 1918, in the wake of World War I and the Russian Revolution. As monarchies dissolved and empires transformed, boundaries that had previously constrained composers gave way and new compositional freedoms burst forth, as evidenced in works by Ravel, Stravinsky and Janáček. Social scientist Andreas Glaeser will add perspective to what promises to be a three-way conversation between scholars, musicians and the Guarneri Hall audience. The program includes Maurice Ravel (1875-1937): Duo; Igor Stravinsky (1882-1971): L’Histoire du Soldat; and Leoš Janáček (1854-1928): Quartet No. 1, “The Kreutzer Sonata”. Performing artists are Chelsea Wang, piano; Nathan Meltzer and Eric Gratz, violin; Brian Hong, viola; Alexander Hersh, cello; and Katherine Jimoh, clarinet.

The Revolutions festival follows Guarneri Hall’s previous series on the connections between key historical events and the transformative power of music, seen in programs such as Sounds of the Cold War in 2024, and 1945 in 2025.

About Guarneri Hall

Guarneri Hall NFP delivers extraordinary chamber music experiences to a broad and diverse audience through a curated mix of live performances and original music videos. Located in a custom-built, 60-seat venue in the heart of downtown Chicago, Guarneri Hall is renowned for its exceptional acoustics, designed by Threshold Acoustics, and its uniquely intimate concert setting. Founded in 2018 by violinist and violin dealer Stefan Hersh of Darnton & Hersh Fine Violins, Guarneri Hall is named after the famed Italian family of luthiers whose legacy rivals that of Stradivari. Learn more at guarnerihall.org.

The Front Theatre announces casting for the North American premiere of Rafaella Marcus's highly acclaimed play Sap, directed by Charles Riffenburg. Sap is a timely and poetic thriller, in which a woman's lie to her girlfriend threatens to grow out of control when a man from her past uses it against her. Sap will be presented February 25 - March 27, 2027, at The Den Theatre, 1331 N Milwaukee Ave, in Chicago. 

Daphne is in love with a woman she calls her "Wonder Woman," the kind of love that she can't remember having ever experienced before. But when a one-night stand from her past shows up, she'll do anything to keep her secret from her girlfriend. Inspired by the Greek myth of Daphne and Apollo, Sap is a poetic and timely new play about passion, power, bisexual erasure, domestic violence, and the danger of hiding who you are.
 
The cast of Sap features Rileigh Belle Wine, Lily Gaddis, and Jay Donley.

Charles Riffenburg (director)
Charles Riffenburg is an actor, director, and visual artist. He is the founder and artistic director of The Front Theatre. Previously, he served as an Artistic Associate and Marketing Director at BoHo Theatre and the Marketing Manager at About Face Theatre. He made his Chicago directing debut with Veronica's Room at BoHo Theatre, which was Jeff Award-nominated for Outstanding Play and Outstanding Supporting Actress in a Play (Sarah Wellington). His directing credits also include Sara Ruhl's Eurydice and Jeffrey Hatcher's Scotland Road with BoHo. Additionally, he has worked throughout the Chicago theatre community as an independent graphic designer, illustrator, and marketing consultant for over 16 years, partnering with clients such as Northlight, Remy Bumppo, Marriott Theatre, The House Theatre, Emerald City Theatre, Chicago Fringe Festival, League of Chicago Theatres, Lifeline Theatre, and many more.

Rafaella Marcus (playwright)
Rafaella Marcus is an award-winning playwright turned screenwriter. Her debut play Sap was a breakout hit of the Edinburgh Fringe, winning the Soho Playhouse Medal for Excellence in Theatre, the Summerhall Lustrum Award, and The Stage Edinburgh Award. After sell-out runs at Paines Plough's Roundabout and London's Soho Theatre, Sap toured nationally, off the back of which Rafaella won Most Promising New Playwright at the UK's 2024 Off West End Theatre Awards. This year, Rafaella was announced as recipient of the Donmar's 2026 Theatre Royal Haymarket Writers' Award. Rafaella was previously selected as one of 10 playwrights on the UK's inaugural Women in Theatre Lab. She has also worked prolifically in theatre as a director and dramaturg, focusing on new writing and promoting marginalised voices. Rafaella is now adapting Sap for television, alongside developing a host of other projects for TV, film, and theatre.

SAP
By Rafaella Marcus
Directed by Charles Riffenburg
February 25 - March 27, 2027
Thursdays, Fridays and Saturdays at 7:30pm , Sundays at 3 pm
The Den Theatre, 1331 N. Milwaukee Ave., Chicago
Tickets: $15-$35, available at The Den Theatre Box Office (1331 N Milwaukee Ave, Chicago)
Online at thefronttheatre.com or thedentheatre.com

Hyde Park School of Dance, now in its 33rd year of training, performance, and community, welcomes families and dance enthusiasts to its annual, one-of-a-kind presentation of The Nutcracker. Performances are December 11–13 at Mandel Hall on the University of Chicago campus, 1131 E. 57th Street, Chicago. 

Hip hop mice face off against breakdancing soldiers in HPSD's playful reimagining of The Nutcracker's classic battle scene, where creative self-expression turns conflict into connection. The battle is one of the signature moments in a production that brings classical ballet, hip hop, breakdancing, modern, AcroDance, West African, and Chinese dance together to tell the familiar holiday story. Narration throughout helps audiences of all ages follow the adventure.

Refreshed each year, the production features a cast of more than 200, from dancers as young as 7 to members of HPSD's pre-professional Studio Company Program and adult performers from the community. The result is a celebration of dance across styles and generations, with fresh discoveries for returning audiences and a welcoming introduction for those experiencing their first Nutcracker.

This production marks the first since the retirement announcement of Founding Artistic Director August Tye following 32 years of leadership. Under Interim Artistic Director Amber Echols, the production enters its next chapter, shaped by her wide-ranging dance background while building on Tye's decades-long legacy. Echols started as a student at the Hyde Park School of Dance more than 20 years ago, performing annually in The Nutcracker herself. 
 
"I am incredibly grateful to return for my second year as Interim Artistic Director and have the opportunity to continue leading this special production," said Echols. "The Nutcracker has always held a special place in my heart. I remember being a young dancer on this very stage, dreaming about the roles I hoped to dance one day, and now I have the privilege of helping create those same moments for our dancers. It is truly a full-circle experience to watch their excitement during auditions, hear them talk about their dream roles, and see them grow throughout the process. Helping to carry on this tradition while creating new memories for the next generation of dancers holds deep meaning for me."
 
This year, HPSD welcomes community partners for Neighborhood Night on Friday, December 11, with opportunities to connect around resources and opportunities available to local residents. Audience members are welcome to bring a donation for the Hyde Park-Kenwood Food Pantry and arrive early to explore ways to engage. Community partners may sign up to participate by using this form.
 
HPSD presents its youngest performers (ages 4–6) as part of the special Young Dancers Holiday Pre-Show prior to both performances on Saturday, December 12. 
 
The production also includes surprise cameos by local VIPs in the larger-than-life role of Mother Ginger—this year including a special appearance by HPSD Founding Artistic Director August Tye on Sunday, December 13. Tye also teaches a special pre-show class for alumni on Sunday.

The Nutcracker takes place Friday, December 11 at 7 p.m.; 
Saturday, December 12 at 1 and 6 p.m.;
and Sunday, December 13 at 2 p.m. 
at Mandel Hall, 1131 E. 57th Street, in Chicago.  

General admission is $38.10 for adults, $28.10 for seniors (65+), 
$18.10 for children ages 6–18 and college students with school ID, 
and $8.10 for children 5 and younger (lap children are free).
Special $48.10 preferred section tickets are available for all ages.
All prices include service fees.

Tickets are available October 27 at 31109.danceticketing.com/.

NOTE: All performances include ASL interpretation; guests requiring seats for the interpretation should email This email address is being protected from spambots. You need JavaScript enabled to view it. prior to purchasing tickets.

Hyde Park School of Dance 

Founded in 1993 as the Hyde Park School of Ballet, Hyde Park School of Dance is a 501(c)(3) nonprofit providing opportunities for students of all ages and abilities to study, perform, and create classical and contemporary dance at the highest levels of discipline and artistry within a community dedicated to the welcoming inclusion of dancers of all races, religions, body types, genders, sexual orientations, and family income backgrounds. Under the leadership of Interim Artistic Director Amber Echols, Hyde Park School of Dance is committed to offering everyone the chance to experience the empowering rewards of self-discipline, hard work, and collaboration in a diverse and supportive environment, cultivating a love of dance and a strength of body, mind, and character that will benefit students of all ages throughout their lives.

For information, visit hydeparkdance.org.

Kokandy Productions is pleased to conclude its 2026 Season with A Clockwork Orange: A Play with Music, a live adaptation of Anthony Burgess's dystopian novel that brings the cult-classic "horrorshow" to visceral, pulsing, terrifying life. Directed by Producing Artistic Director Derek Van Barham, with music direction and original music by Sean Ellis and choreography by Breon Arzell , A Clockwork Orange will play November 5, 2026 – January 10, 2027 on The Chopin Theatre Mainstage, 1543 W. Division St. in Chicago. Tickets are on sale now at kokandyproductions.com or bit.ly/ClockworkChicago.

A Clockwork Orange will be led by Reilly Oh as the charismatic yet sadistic Alex DeLarge. Hannah Antman (Pete), Jamille Calixte (Georgie) and Ben Harmon (Dim) will portray Alex's band of Droogs, with Robert Hunter Bry, Colin Callahan, Sydney Genco, Jaiden Lindsey, Tommy Thams and Lizzie Williams creating an "ultra-violent" world of doctors, officers, government officials, inmates, milk bar patrons and more. Stone TeSelle will understudy Alex Delarge, with swings including Jenni Babisch, Jeff Menezes and Skye Steury.

"Having both the beloved book and the cult classic Kubrick film as references gives us even more opportunity to surprise our audience and subvert expectations," says Producing Artistic Director Derek Van Barham. "Immersing the audience in the dystopian decadence of Alex and his droogs resonates differently in 2026, when choice and individual expression are both under attack. At this moment, should we be willing to sacrifice any part of what makes us uniquely ourselves? What first appears to be a story about curing evil in a rebellious teen may also double as a cautionary tale about using fear to create a more socially acceptable kind of monster."

About the Production

A Clockwork Orange lures audiences into a glass-edged, testosterone-filled underworld of a dystopian future. The explosive story of little Alex and his rebellious gang of Droogs is a groundbreaking and twisted tale teeming with sexuality and "a bit of the old ultra-violence." As hauntingly relevant today as when Burgess's book first published in 1962 and when Stanley Kubrick's cult classic film caused a stir in 1971, A Clockwork Orange is an unapologetic celebration of the human condition. And Beethoven.

The production team includes Eric Luchen (Scenic Design), Rachel Sypniewski (Costume Design), G "Max" Maxin IV (Lighting Design), Matt Reich (Sound Design), Julian Weslander (Properties Design), Syd Genco (Makeup Design), Keith Ryan (Wig Design), Kirsten Baity (Intimacy Director), Lana Whittington (Fight Director), Carrie Hardin (Dialect Coach), Shane Roberie (Casting Director), Nicholas Reinhart (Production Manager), Amelia Osborn (Associate Production Manager), Corbin Paulino (Stage Manager), Michael Latiolais (Assistant Stage Manager), Scot Kokandy (Executive Producer) and Derek Van Barham (Producing Artistic Director).

PRODUCTION DETAILS:

Title: A Clockwork Orange: A Play with Music

Playwright: Anthony Burgess, adapted from his novel

Director: Derek Van Barham

Music Director and Original Music: Sean Ellis

Choreographer: Breon Arzell

Location: Chopin Theatre Mainstage, 1543 W. Division St., Chicago

Dates: Previews: Thursday, November 5 – Friday, November 20, 2026

Regular run: Sunday, November 2, 2026 – Sunday, January 10, 2027

Curtain Times: Thursdays, Fridays and Saturdays at 7 pm; Sundays at 5 pm. Please note: there will not be a performance on Thursday, November 25 (Thanksgiving); Thursday, December 24 (Christmas Eve), Friday, December 25 (Christmas Day), Thursday, December 31 (New Year's Eve) or Friday, January 1 (New Year's Day); there will be added performances on Wednesday, November 25 at 7 pm; Tuesday, December 22 at 7 pm, Wednesday, December 23 at 7 pm, Tuesday, December 29 at 7 pm and Wednesday, December 30 at 7 pm.

Tickets: Previews $28.52* general admission, $39.19* reserved seating. Regular run $55.20* general admission, $65.87* reserved seating. Students/seniors $44.52*. There will be a limited number of lower-priced tickets (with code ARTIST) available to artists for each performance. Tickets are on sale now at kokandyproductions.com or bit.ly/ClockworkChicago. *Ticket prices include processing fees

About the Artists

Derek Van Barham (Director) is the Producing Artistic Director of Kokandy Productions. Directing credits include Children of Eden in Concert (Broadway In Chicago), Jekyll & Hyde (BIC/Kokandy), Amélie, Into the Woods, Alice by Heart, Sweeney Todd, American Psycho, Head Over Heels (4 Jeff Awards and 3 Jeff nominations, Kokandy); Spring Awakening (Flint Rep); Rock of Ages (Metropolis); The View Upstairs (Circle Theatre); Miracle by Dan Savage, Poseidon (Hell in a Handbag), Natasha Pierre and the Great Comet of 1812, Carrie, Bat Boy, Merrily We Roll Along (CCPA/Roosevelt University). Choreography credits include Evil Dead (Jeff nomination), Coraline the Musical, Ghost Quartet and Shockheaded Peter (Black Button Eyes). He was previously named one of Windy City Times' 30 Under 30, and one of Newcity Magazine's 50 Players 2024 and 2026. MFA: CCPA/Roosevelt University. IG: @dvbarham

Sean Ellis (Music Director, Original Music) is a Chicago-based multimedia artist working with music, sound, dance, movement, burlesque and acrobatics, and is the second sibling in the Haus of Twirl. Their work aims to engage vulnerability, inspire introspection and generate collective action. Their work has brought them around the world, creating, performing and producing award-winning art. This includes artistic research residencies at Lund University, invitations to present work with the UN of Sweden and the Clinton Foundation Global Initiative Summit, as well as performances at Steppenwolf Theatre, The Hanna Theater, and more. Additionally, Sean's art has been recognized through numerous awards, including selected student composer at the Chicago Electro-Acoustic Music Festival, the Grammy-Award winning Cleveland Chamber Symphony's Emerging Composer Award, the 2017 OperaFEST featured composer and the 2018 Matthew Freeman Social Justice Award through the Mansfield Institute for Social Justice and Transformation. Sean holds bachelor's and master's degrees in music composition from Baldwin Wallace Conservatory of Music and Roosevelt University Chicago College of Performang Arts, respectively.

Breon Arzell (Choreographer) Kokandy: The Wiz, Head Over Heels, American Psycho. Chicago: A Strange Loop (Raven/AboutFace), How We Got On (Definition Theatre), The Color Purple (Goodman), Black Excellence Shows & Main Stage Revue (The Second City), Brothers Size, We ARE Proud... (Steppenwolf), KillMoveParadise (TimeLine Theatre) and more. Regional: Select: Signature Theatre, Cape Fear Regional Theatre, Woolly Mammoth Theatre, MUNY, The Kennedy Center, Olney Theatre Center, Oregon Shakespeare Festival. International: Italy, A.C.L.E. Theatrino; Germany, White Horse Theatre; Denmark, World Theater Festival; Singapore, LaSalle SIA. Education: DePaul University, Northwestern University, University of Illinois-Chicago. Film/TV: The 4400, SouthSide, Whole + Six Feet Apart, Blacksite. Awards: 5 Jeff Awards (Joseph Jefferson, Chicago), 2 Black Theater Alliance Awards, Helen Hayes Award for Best Choreography.  www.breonarzell.com @breonarzell

About Kokandy Productions

Founded in 2010, Kokandy Productions seeks to leverage the heightened reality of musical theatre to tell complex and challenging stories, with a focus on contributing to the development of Chicago-based musical theatre artists, and raising the profile of Chicago's non-Equity musical theatre community.

The company's artistic staff is comprised of Derek Van Barham (Producing Artistic Director), Scot Kokandy (Executive Producer) and Adrian Abel Azevedo & Leda Hoffman (Artistic Associates). The Board of Directors includes Preston Cropp, Scot Kokandy, Danielle Sparklin and Katie Svaicer. 

For additional information, visit kokandyproductions.com. 

It’s back by popular demand! Broadway In Chicago is excited to announce that THE BOOK OF MORMON is now playing at Broadway In Chicago’s Cadillac Palace Theatre (151 W. Randolph St.) for a limited engagement through November 1 only.

THE BOOK OF MORMON features book, music and lyrics by Trey Parker, Robert Lopez and Matt Stone. The Broadway production is directed by Parker and two-time Tony Award winner Casey Nicholaw and choreographed by Nicholaw. The tour is directed and choreographed by Jennifer Werner based on the original Broadway direction and choreography. Set design is by three-time Tony Award winner Scott Pask, costume design is by Tony Award winner Ann Roth, lighting design is by six-time Tony Award winner Brian MacDevitt, sound design is by two-time Tony Award winner Brian Ronan, and hair design is by Josh Marquette. Orchestrations are by Tony Award winner Larry Hochman and two-time Tony Award winner Stephen Oremus. Music supervision and vocal arrangements are by Stephen Oremus. Casting is by Carrie Gardner.

Since opening on March 24, 2011, THE BOOK OF MORMON  has become one of the most successful shows in Broadway history, breaking the Eugene O’Neill Theatre house record more than 50 times. In addition to nine Tony Awards including Best Musical and the Grammy for Best Musical Theatre Album, THE BOOK OF MORMON  won five Drama Desk Awards including Best Musical, the NY Drama Critics Circle Award for Best Musical, the Drama League Award for Best Musical and four Outer Critics Circle Awards including Best Musical.

The West End production opened in March 2013, winning four Olivier Awards including Best New Musical, and breaking the record for the highest single day of sales in West End history. The first-ever UK and European tour launched in Manchester in June 2019, winning ‘Best Theatre Show’ at the Manchester Evening News City Life Awards before touring throughout the UK and Europe.

THE BOOK OF MORMON has been performed on three continents and has won over 30 international awards. The musical has smashed long-standing box office records in New York, London, Melbourne, Sydney and in cities across the U.S. and the world.

The Original Broadway Cast Recording for THE BOOK OF MORMON, winner of the 2012 Grammy Award for Best Musical Theater Album, is available on Ghostlight Records.

NETWORKS PRESENTATIONS (Producer) is an industry-leading producer of touring theatrical productions, committed to delivering quality entertainment to audiences worldwide for more than 25 years. www.networkstours.com

For more information, visit thebookofmormontour.com

PERFORMANCE SCHEDULE
Friday, October 23 – 7:00 p.m.
Saturday, October 24 – 2:00 p.m. & 7:30 p.m.
Sunday, October 25 – 1:00 p.m. & 6:30 p.m.

Tuesday, October 27 – 7:00 p.m.
Wednesday, October 28 – 7:00 p.m.
Thursday, October 29 – 7:00 p.m.
Friday, October 30 – 7:00 p.m.
Saturday, October 31 – 2:00 p.m. & 7:30 p.m.
Sunday, November 1 – 1:00 p.m. & 6:30 p.m.

TICKET INFORMATION (As of October 23, based on availability and subject to change)
Individual tickets for THE BOOK OF MORMON are on sale now and range from $49.00 to $169.00 with a select number of premium tickets available. The listed ticket prices apply to purchases made in person at the box office. Additional fees apply for online purchases. Patrons can also participate in a digital lottery for a chance to purchase $30.00 tickets for each performance, which is inclusive of all mandatory taxes, restoration, handling, and third-party fees. In addition to the lottery, a limited number of day-of-show, in-person Rush tickets will be available for $49.00 for all performances. Click here for more info on Digital Lottery and In-Person Rush. Tickets are available now for groups of 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. For more information, visit www.BroadwayInChicago.com.

ABOUT BROADWAY IN CHICAGO
Broadway In Chicago was created in July 2000 and over the past 26 years has grown to be one of the largest commercial touring homes in the country. A Nederlander Presentation, Broadway In Chicago lights up the Chicago Theater District entertaining up to 1.7 million people annually in five theatres. Broadway In Chicago presents a full range of entertainment, including musicals and plays, on the stages of five of the finest theatres in Chicago’s Loop including the Cadillac Palace Theatre, CIBC Theatre, James M. Nederlander Theatre, The Auditorium, and just off the Magnificent Mile, the Broadway Playhouse at Water Tower Place .
 

For more information and tickets, visit www.BroadwayInChicago.com.
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The Artistic Home's 2026-27 season will include works by new writers, along with less performed works by two of the greatest playwrights of the past 140 years. After opening their season on November 5 with CUT TO THE CHASE at the Lookingglass Studio Theatre, the company will return to The Den Theatre for the remainder of the season. There, The Artistic Home  will present Arthur Miller's later career drama, THE PRICE, from January 21 to February 28 and conclude their season with Anton Chekhov's first produced play, IVANOV, which will play from May 1 to June 6.
 
A staple of Chicago theater for over two decades, CUT TO THE CHASE presents as one fun night of theater a number of new plays chosen from hundreds of submissions by writers from across the country. The plays are performed back-to-back, with the complete program running approximately 80 minutes. CUT TO THE CHASE is a perfect taste of dynamic theater in an intimate space. Ensemble member Annie Hogan will curate the festival, which will be directed and performed by ensemble members and other theatre artists. CUT TO THE CHASE will be performed for two weekends, from November 5 -15, at the Lookingglass Studio Theater, 163 E. Pearson at Michigan Avenue, on Chicago's Magnificent Mile. Tickets are $25.00 plus fees and are available at https://www.theartistichome.org/cut-to-the-chase-2026-2027.
 
The lineup of plays for this edition of CUT TO THE CHASE includes "Bone Fire" by Nina Dellaria, directed by Eve Pahoresky and performed by Caitlin Jemison and Chris Clowers; "Devoted and Other Adjectives" by Brian S. Brijbag, directed by Devon Carson and performed by Mary Mikva and Michael Baylor; "Gouting" by Dan Caffrey, directed by Jacob Watson and performed by Delia Ford and Lee Kanne; "Posthumy!" by Siah Berlatsky, directed by Savaun Stokes and performed by Janice Rumschlag and Jared Goudsmit; "Rot" by S.A. Ellis, directed by Julian Hester and performed by Charlie Irving and Trevor Hendrix; and "Break" by Margaret Richard, directed by Christian Helem and performed by Taylor Talhame, Nick Buzzi, and Elizabeth Sacha.
 
CUT TO THE CHASE will be followed in January by THE PRICE, Arthur Miller's play first produced in 1968. Two estranged middle-aged brothers reunite in the attic of their family's Manhattan brownstone to sell off a lifetime of estate furniture. The cluttered attic filled with family furniture acts as a physical repository of the past, where characters project their unresolved grief, bitterness, and relational attachments onto physical things. THE PRICE was Miller's last major Broadway hit, and while less frequently performed than his DEATH OF A SALESMAN, ALL MY SONS, THE CRUCIBLE, or A VIEW FROM THE BRIDGE, THE NEW YORK TIMES called it "one of the most engrossing and entertaining plays that Miller has ever written." It will be performed and directed by a cast of The Artistic Home ensemble members, with Scott Westerman directing Kristin Collins, John Mossman, Frank Nall, and Todd Wojcik. THE PRICE will open to the press on Thursday, January 28, following previews on January 24, 25, and 27; and play through February 28, in the Bookspan space of The Den Theatre.
 
Closing the company's season will be Anton Chekhov's first produced full-length play, IVANOV. Like Chekhov's later plays – CHERRY ORCHARD, SEAGULL, and THREE SISTERS, it explores themes of loss amidst a changing society. The title character, once a highly successful member of the County Counsel, is deeply in debt, in danger of losing his estate, and most troubling, is severely depressed. Ensemble member Ted James will direct. IVANOV will open to the press on Thursday, May 6, following previews on May 1, 2, and 5; and will play in the Bookspan space at The Den through June 6.

The Artistic Home's 2026-27 is sponsored by the Michael and Mona Heath Fund.
 
Tickets for CUT TO THE CHASE are $25.00 plus fees and are available at https://www.theartistichome.org/cut-to-the-chase-2026-2027. Ticketing information for THE PRICE and IVANOV will be announced later.

There are funerals where grief brings a family together, and then there are funerals where grief opens the door to everything a family has spent years trying to keep buried. In Hayward, playwright Netta Walker turns a father’s funeral into a reckoning with family secrets, unresolved pain, and the ghosts that refuse to stay in the past.

Given a bold world-premiere production by The Gift Theatre, presented at Steppenwolf’s 1700 Theater, Hayward, directed by AmBer Montgomery, reimagines elements of Hamlet and Electra through the eyes of Luna, the youngest daughter in a deeply complicated family. On the day of her father’s funeral, Luna announces that his ghost has come to visit her. What follows is part family drama, part dark comedy, and part haunting exploration of the emotional inheritance passed from one generation to the next.

The play opens with a funeral, and from the moment the family enters, it is clear that this will be no ordinary farewell.

Luna (Ireon Roach), her father’s favorite child, is overwhelmed by grief as she stands at the podium to deliver his eulogy. Her siblings seem considerably less interested in mourning. Eric (Victor Musoni), dressed in a white memorial T-shirt and sagging pants, and Leila (Sydney Charles), wearing a white dress that seems decidedly inappropriate for the occasion, give the impression they would rather be anywhere else. Their oldest brother, AJ (Gregory Fenner), a military man, stands rigidly at attention, as though guarding the proceedings at a state funeral.

Seated apart from the chaos is Maria (Shanesia Davis), the family matriarch, dressed in white, her face veiled and a white handkerchief close at hand. She carries herself with the solemnity of a woman accustomed to holding a family together, even when its members threaten to tear one another apart.

(from left) Alfred Wilson, Gregory Fenner, Shanesia Davis and Ireon Roach in The Gift Theatre's presentation of Hayward at Steppenwolf’s 1700 Theater. Photo by Joe Mazza / Brave Lux.

During the service, Luna sees her deceased father, Tony (Watson Swift). Her vision is quickly dismissed, but the encounter signals that something deeper is happening within this family. At the gravesite, the arrival of Uncle Johnson (Alfred Wilson), who is also a pastor, adds another layer of tension. There is little pastoral comfort in Johnson’s approach. He berates the family, directing particular hostility toward Luna because of who she is.

Religion, family expectations, and personal identity collide, and the resulting arguments reveal a household where love and resentment have become inseparable. The siblings fight, challenge one another, and expose old wounds, yet beneath their dysfunction is a recognizable bond. They may not know how to care for one another gracefully, but the connection remains.

At the center is Luna, whose grief is both the most visible and the most unsettling. Her father’s visits are not simply a supernatural manifestation of mourning; he has a request for her that reaches beyond the grave. As the family’s history unfolds, we learn that Tony served in the military during the Gulf War and returned carrying psychological wounds. The play suggests that the trauma he experienced did not end with him. His children, particularly Luna, may have inherited some of the emotional consequences without fully understanding their origins.

Walker’s most compelling achievement is her creation of characters who feel genuinely complicated. These are not tidy theatrical portraits of a dysfunctional family. They are people whose behavior can be outrageous, infuriating, and unexpectedly tender, sometimes within the same scene. The comedy emerges naturally from their interactions, offering relief without entirely diminishing the pain beneath the laughter.

Montgomery has assembled a strong ensemble and directs the actors with a clear sense of purpose. One of the production’s funniest moments comes when Maria sits center stage and her children gradually gather around her, one by one, as if seeking the comfort of the family’s center. When the last child arrives, Maria simply gets up and leaves them together. The gesture is hilarious, revealing, and familiar to anyone who has watched a family matriarch reach the limits of her patience. It is a moment best experienced rather than explained.

The scenic design is another notable achievement. The stage transforms from a church to a gravesite and eventually into the family’s living room. The final home setting is impressively detailed, providing a convincing domestic space in which the family’s conflicts can continue to unfold. My reservation is the time required to complete the transformation. Although the finished environment is effective, the process of getting there interrupts the production’s momentum.

Ultimately, Hayward is an entertaining and ambitious work that uses humor, supernatural elements, and family conflict to examine the lasting effects of trauma. Walker’s play is interested in the emotional territory families occupy: the memories they avoid, the wounds they pass along, and the love that survives even when they struggle to express it.

Still, the play would benefit from sharpening its central argument about mental health. Tony’s military service and the suggestion of inherited trauma offer fertile ground, but the relationship between psychological injury, family behavior, and Luna’s experiences could be developed with greater clarity. The subject deserves more than implication, particularly when the play so effectively demonstrates how one person’s unresolved pain can shape an entire household.

With its memorable characters, dark humor, and committed performances, Hayward offers a lively and often moving portrait of a family trying to find its way through grief. Like a Floridian-style shiva, the gathering is noisy, irreverent, and emotionally unpredictable. The dead may have been laid to rest, but in this family, the past is very much alive.

RECOMMENDED

When: Through Nov. 15

Where: Steppenwolf’s 1700 Theatre 1700 N. Halsted St. Chicago

Tickets: $45 - $50

Steppenwolf.org/hayward