Displaying items by tag: chicago theatre

The Goodman wraps its 2025/2026 Centennial Season, an unprecedented line-up marking the 100^th anniversary of Chicago's flagship not-for-profit theater, as the most successful in its history. Today, the theater released its "A Century of Impact" report, detailing milestone programming and attendance figures (a full annual report, including audited financials, will be published at year's end).  Led by Walter Artistic Director Susan V. Booth and Executive Director John Collins, the season drew more audiences than ever, topping 300,000—with 57% attending The Goodman for the first time—to 4,000 performances and events. The works in the 15-production season, curated by Booth, earned widespread critical and audience acclaim: 11 extended productions, 290 sold-out performances, while the world-premiere musical Iceboy! Or, The Completely Untrue Story of How Eugene O'Neill Came to Write The Iceman Cometh became the theater's all-time best-attended, best-selling production. Attendees hailed from 61 countries beyond the U.S. with audiences from 5,837 unique zip codes.

In addition, the Goodman broke new ground transforming a 15,000 square-foot, in-the-raw space for Theater of the Mind, Academy, Grammy and Tony Award-winning artist David Byrne's immersive work, drawing 63% first-time Goodman attendees. Chicago resident magician Dennis Watkins continued into his third year at The Magic Parlour, in partnership with The Goodman and Petterino's, hosting 163 sold-out performances and expanding his roster by welcoming nine guest artists. Beyond the stage, The Goodman offered 100 Free Acts of Theater—a year-long collaboration with 48 community partners at creative organizations in all 50 Chicago wards—drawing more than 20,000 people, presented in partnership with the Department of Cultural Affairs and Special Events (DCASE). Expanded Theater for the Very Young programming drew nearly 5,000 children and caregivers, with nearly 13,000 people of all ages engaging in free and low-cost Education and Engagement programming. Goodman Theatre Centennial Season leadership included Chair of The Goodman Board of Trustees is Marsha Cruzan; Women's Board President is Diane Landgren; and Kelli Garcia as President of the Scenemakers, The Goodman's young professionals board.

"One hundred years ago, Chicago gave us a stage. Over the past century, this city has given us so much more—welcoming generations of artists with bold ideas, filling our theaters with laughter, applause and conversation, challenging us to tell stories that reflect who we are, who we've been and who we might yet become," said Booth and Collins in a joint statement. "There are many ways to measure success; for us, it's ultimately about impact. We're proud to have reached more audiences through more programming in more communities this year than ever before. As theater leadership, we deeply feel the gratitude and responsibility that comes with a 100-year legacy. We look to continue The Goodman's story in our second century with the greatest ambition to deepen our reach, welcome more voices, and build stronger connections."

PRODUCTIONS, EVENTS AND OFFERINGS IN THE CENTENNIAL SEASON 

ALBERT THEATRE (856-SEAT PROSCENIUM STAGE) PRODUCTIONS

Ashland Avenue 
By Lee Kirk, Directed by Susan V. Booth 
Starring Jenna Fischer 
September 6 – October 5, 2025 (extended through October 19) | A World Premiere

A Christmas Carol (48^th annual production) 
By Charles Dickens, Directed by Malkia Stampley 
Starring Christopher Donahue as Ebenezer Scrooge 
November 15 – December 31, 2025

Holiday
Adapted by Richard Greenberg, Based on the play by Philip Barry, Directed by Robert Falls
January 31 – March 1, 2026 (extended through March 8) | A World-Premiere Adaptation 

August Wilson's Ma Rainey's Black Bottom 
Directed by Chuck Smith, Associate Director and Music Director Harry J. Lennix 
March 28 – April 26, 2026 (extended through May 3)

Iceboy! or, The Completely Untrue Story of How Eugene O'Neill Came to Write The Iceman Cometh 
Music by Mark Hollman, Lyrics by Mark Hollman and Jay Reiss, Book by Erin Quinn Purcell and Jay Reiss 
Directed by Marc Bruni, Choreographed by JoAnn M. Hunter 
Starring Megan Mullally and Nick Offerman 
June 9 – July 19, 2026 (extended through August 16) | A World-Premiere Musical

OWEN THEATRE (350-SEAT FLEXIBLE STAGE) PRODUCTIONS

Revolution(s) 
By Zayd Ayers Dohrn, Music and Lyrics by Tom Morello, Directed by Steve H. Broadnax, III 
October 4 – November 9, 2025 (extended through November 23) | A World-Premiere Musical

New Stages Festival (21^st annual event) January 11 – 18, 2026 
FEAST! by Calamity West, Directed by Susan V. Booth  
Pennies by Hansol Jung, Directed by Patricia McGregor 
This Part of His Life Blooms by Christina Anderson, Directed by Malkia Stampley 
The Audience Unseen by Ike Holter, Directed by Gus Menary, Dramaturgy by Sarah Slight

The Brief Wondrous Life of Oscar Wao 
By Marco Antonio Rodriguez, Adapted from the novel by Junot Díaz, Directed by Wendy Mateo 
February 21 – April 5, 2026 (extended through April 12) | A World-Premiere Adaptation

Covenant 
By York Walker, Directed by Malkia Stampley 
May 2 – 31, 2026 (extended through June 7) | A Chicago Premiere

Raven Theatre's production of Dave Malloy's Octet 
Directed by Keira Fromm 
July 15 – 26, 2026 (extended through August 2)

TJ and Dave 
Starring TJ Jagodowski and David Pasquesi, with special musical guest Ike Reilly 
July 30-31 and August 1

THEATER FOR THE VERY YOUNG PRODUCTIONS

Splish Splash: A Day on the Lake 
Directed by Ellie Levine and Jamal Howard, created in collaboration with students from Total Child Preschool 
February 28 – March 15, 2026 (extended through March 22)

The Lizard y El Sol 
Presented as part of the Chicago Park District's Night Out in the Parks Series, supported by the Mayor's Office and the Chicago Department of Cultural Affairs and Special Events (DCASE) 
Co-Directed by Jamal Howard and Raquel Torre 
July 22 – August 9, 2026 (extended through August 15)  
Appeared at 12 Chicago Parks District locations and four (4) Chicago Public Libraries

OFF-SITE PRODUCTIONS

Theater of the Mind
Created by David Byrne and Mala Gaonkar, Directed by Andrew Scoville  
Appearing at 333 N. LaSalle in an open run (performances began March 11, 2026)

Dennis Watkins' The Magic Parlour  
Produced in partnership with Goodman Theatre and Petterino's
Appearing at 50 W. Randolph in its third season, in an open run (tickets on sale through December 31)

EVENTS AND PARTNERSHIPS

100 Free Acts of Theater  
In partnership with the Chicago Department of Cultural Affairs and Special Events (DCASE) 
Summer 2025 – Summer 2026

Sweetest Season: A Gathering of Indigenous Creativity 
In partnership with Gichigamiin Indigenous Nations Museum 
August 15

THEATER FOR A LIFETIME

The Goodman's Education and Engagement programs cater to theatergoers at every stage of life. During the Centennial Season, nearly 13,000 people participated in nearly 200 free and low-cost programs, workshops and performances—including 4,490 children and caregivers through Theater for the Very Young, more than 4,800 students and teachers through school-based programming and nearly 900 older adults through GeNarrations. Goodman Education and Engagement programs include:

For Young Children & Families – Second Saturdays; Theater for the Very Young 
Students & Teachers – Pages; School Matinee Series; Stage Chemistry 
Teens – Musical Theater Intensive; PlayBuild Youth Intensive; Teen Studio; Youth Arts Council 
Adults – ACTivation; CONTEXT; GeNarrations

CENTENNIAL SEASON SUPPORT

The Goodman hosted two major fundraisers that together raided $1.6 million in support of the theater's Education and Engagement programs. In October 2025, stage and screen star Jenna Fischer shared her thoughts about formative experiences in the arts at the annual Education and Engagement Benefit, co-chaired by Elizabeth Balthrop and Anne Van Wart; Kathleen Cowie and Melissa Donaldson were Education and Engagement Committee Co-Chairs. In May 2026, Emmy, SAG and Critics Choice Award nominee Tituss Burgess dazzled audiences with a live show, followed by dinner and dancing at the Goodman Gala. The event was co-chaired by Wendy Krimins, Heather Poladian and Heather Zimmerman with Trustee Co-Chair Troy Zimmerman and Benefits Events Leadership Chair Joan E. Clifford, Board of Trustees Past Chair and Life Trustee.

The Goodman is grateful to its Centennial Season Sponsors, including Leading Sponsors Paul M. Angell Family Foundation; Allstate Insurance Company; Helen Gurley Brown BOLD Circle; Chicago Department of Cultural Affairs & Special Events; Chicago Department of Planning and Development; Edgerton Foundation New Play Award; Julius N. Frankel Foundation; Illinois Office of Tourism; JPMorgan Chase & Co.; The Elizabeth Morse Charitable Trust; Elizabeth Morse Genius Charitable Trust; Northern Trust Bank; Alfred P. Sloan Foundation; and The Shubert Foundation. Additional Support by Abbott Labs; BMO; Illinois Arts Council; National Endowment for the Arts; Petterino's; PNC; Polk Bros Foundation; Pritzker Pucker Family Foundation; and The John D. and Catherine T. MacArthur Foundation. Individual Sponsors include Susan and James Annable; Roger and Julie Baskes; Joan and Robert Clifford; Patricia Cox; Julie M. Danis and Paul F. Donahue; Christopher C. Dewey; Shawn M. Donnelley and Christopher M. Kelly; Paul Dykstra and Spark Cremin; Albert and Maria Goodman; The Kenneth Sawyer Goodman Family; Elaine R. Leavenworth; Carol Prins and John Hart; Alice and John Sabl; and Kimbra and Mark Walter. Impact Sponsors include Marsha Cruzan and Tom McGinnis; Drs. Robert and Frances Del Boca; David and Alexandra Fox; Diane Landgren; and Lorrayne and Steve Weiss.

ABOUT THE GOODMAN

Since 1925, The Goodman has been a theatrical home for artists and a gathering space for Chicagoland, where bold stories spark connection, conversation and change. Now, as it enters its second century, The Goodman builds on that legacy with an eye toward the future. Under the leadership of Walter Artistic Director Susan V. Booth and Executive Director John Collins, the theater continues to champion new work—following hundreds of plays developed and a national reputation for commissioning and premiering original stories by living writers—while reimagining classics and produce large-scale musicals.

But The Goodman's reach today extends beyond its home in the heart of the Loop. From the intimate magic of The Magic Parlour, now in its third year, to the boundary-pushing world of Theater of the Mind—an immersive experience that blurs the lines between science, storytelling and sensation—and from citywide initiatives like 100 Free Acts of Theater to partnerships with artists and companies across Chicago and around the world, The Goodman is expanding what theater can be, and where it can live.

At its core, The Goodman is driven by a belief that a more empathetic, more connected city is built one story at a time. Generation-spanning productions and programs offer theater for a lifetime—from babies and young children to teens, adults and seniors—including Theater for the Very Young (ages 0–5) and the beloved annual A Christmas Carol, which has welcomed audiences for five decades. Education and Engagement programs, led by Clifford Director Jared Bellot and based in the Alice Rapoport Center, use the tools of theater to spark imagination, reflection and belonging—reaching thousands each year, the majority from underserved communities.

With nearly 200 world or American premieres, two Pulitzer Prizes, 22 Tony Awards and nearly 200 Joseph Jefferson Awards, The Goodman remains a defining force in American theater—and the first to produce all 10 plays of August Wilson's American Century Cycle. The theater also frequently serves as a production partner—from national and international companies to Chicago's Off-Loop theaters—to help amplify a wide range of theatrical voices.

Founded by William O. Goodman and his family in memory of playwright Kenneth Sawyer Goodman, the theater carries forward a legacy of artistic ambition and civic generosity. With the help of Mr. Goodman's descendants—Albert Ivar Goodman and his late mother, Edith-Marie Appleton—that spirit continues to shape its future as The Goodman expands its impact across Chicago and beyond. Marsha Cruzan is Chair of the Goodman Theatre Board of Trustees; Diane Landgren is Women's Board President; and Christopher Way is president of the Scenemakers Board for Young Professionals.

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

Coincidentally (or not), Victory Gardens’ new play about a controversial campus speaker opens just days after the one-year anniversary of Charlie Kirk’s assassination. Returning from a lengthy hiatus, Victory Gardens once again lights up the Biograph Theater with the world premiere of Zayd Ayers Dohrn’s new play “The Humanities”.

This thrilling play takes place on an American college campus where an opinionated voice is scheduled to speak. At the top level, an intellectual battle brews between professors and the college administration, while the students openly revolt.

Jonas (Ernest Bently) is a new professor on campus, hand selected by the department chair Martin (Steve Pickering) and his professor wife Margot (Naomi Evans). Jonas is young and ambitious, unwilling to get involved in the petty troubles of students and faculty. Martin and Naomi have other ideas. When Martin invites Luka (Daniil Krimer), an ultra-right-wing speaker on campus he kicks off a series of events that could lead the college, and Jonas, to ruin.

Carole (Sabine Wan) straddles the line between education and commerce as the dean while trying to appease the students and queer professor Milta (Isa Arciniegas). On the ground, students Hampton (Derrick Sanders III) and Xander (Piper Murphy) are taking action into their own hands.

Zayd Ayers Dohrn’s script is densely packed, structured in parts much like a college lecture. Each professor has their own somewhat incomprehensible monolog that speaks to how people can say so little with so many words. That’s not to say these passages are empty, and that’s the point. What college student could actually follow these verbal gymnastics though? Perhaps these speeches say more about how some educators are afraid to share their real opinion. Afterall, feelings aren’t facts.

“The Humanities” is a riveting exploration of the cost of free speech. Of course, our first amendment protects it, but it doesn’t account for good taste. Luka is played so smooth and charmingly by Daniil Krimer that you almost forget he’s a neo-Nazi, until he starts his speech. And that’s the unsettling part; under the law he’s just as entitled to hate speech as to tolerance messaging. And that those who criticize him in this play aren’t exactly perfect themselves.

Dohrn paints a rather cynical portrait of higher education, but in other ways he has a lot of faith in youth. Without the radical intentions of Xander and Hampton, there would be no point in rehashing the systematic problems of American academic institutions. In many ways it’s what makes this play so unique.

For those wondering if Victory Gardens has been restored to its former glory under new leadership, “The Humanities” proves they’ve still got it. Edward Torres directs a great cast. While originally billed as starring SNL alum Nora Dunn, British American actress Naomi Evans seems better fit for the role. She has a sleekness about her that makes some of the sexual plotlines a bit more palatable. Steve Pickering embodies that stodgy professor in this era almost as pitifully as Albee’s George was to the 1960s. There’s a certain tragedy in his performance.

While maybe a bit of trimming could help file this play down to a finer point, Victory Gardens choosing Dohrn’s script as their season opener is a brave choice. Almost an admission of self-awareness in an ever-dividing world in which institutions are no longer held on the same pedestals.

Through October 4 at Victory Gardens Theater. 2433 N Lincoln Ave. (773) 871-3000)

Ghostlight Ensemble's production of American Son, written by Christopher Demos-Brown and directed by Ebby Offord, opens on Friday, September 18, at Friendship Community Place in Jefferson Park. 

The production is led by Ensemble Member Courtney Marie as Kendra and Ensemble Member Khenmu Menu-Ra as Lt. Stokes with Shane Novoa Rhoades as Scott and Derek Preston Ray as Larkin. Understudies are Terah Jene, Eric K. Roberts, Kyle Roth and Ryan Ken.

"American Son has been on my artistic bucket list for as long as I can remember. As a Black woman married to a white man, its themes are all too familiar, and as a GET Ensemble member, it's right on mission," Marie said. "I can't imagine a better time to tell this story."

In American Son, an estranged biracial couple must confront their feelings about race and bias after their son is detained by the local police following a traffic stop incident. 

The story unfolds over a single night as Kendra, a Black mother, desperately seeks answers about the whereabouts of her 18-year-old son, Jamal, who has gone missing after an encounter with the police. As tensions escalate, Kendra is joined by her estranged white husband, Scott, and their clashing perspectives expose deep-seated issues of race, privilege and systemic bias.

Set in a Florida police station, American Son is a gripping tale of two parents caught in our national divide, with their worst fears hanging in the balance. This tense and emotionally charged drama is a compelling exploration of contemporary social issues.

The show also ticks off a role on Menu-Ra's artistic wish list. 

"Personally, I've wanted to play a sort of no-nonsense cop since watching Andre Braugher as Lt. Frank Pembleton on NBC's cop drama Homicide back in the 90s," he said.

"It's exciting to finally step into this law enforcement role in a show as nuanced and layered as American Son. It's a pretty stark reflection of the real lives at stake in the volatile, reactionary world we're living through," Menu-Ra added. "We pose some challenging questions, and I look forward to sharing it with audiences."

The production team includes Stage Manager Hailey Piorek, Scenic and Props Designer Adri Andreolas, Sound Designer Jaden Leverett and Costume Designer Andrés Mota. The show is produced by Ensemble Members Justin Broom, Courtney Marie, Chad Wise and Holly Robison.

The production runs Thursdays, Fridays, Saturdays and Mondays at 7:30 p.m. and Sundays at 2:30 p.m. September 18 through October 4, 2026, at Friendship Community Place (5150 N Northwest Highway, Chicago, IL 60630). There will be a preview performance on Thursday, September 17 and an understudy performance on Monday, September 28. The show runs about 90 minutes with no intermission.

Friendship Community Place is a non-profit organization that serves as a hyper-local neighborhood hub on Chicago's northwest side with partnerships that promote equity, justice and provides resources and public programming. The space is fully accessible with ADA restrooms and automatic doors. 

Tickets are pay-what-you-will, with an average donation of $25. Audience members who are financially able to donate more help offset the cost for those who can't afford to give. For the preview performance on Thursday, September 17, the suggested donation is $15. Tickets are available now.

American Son is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. www.concordtheatricals.com.

The play premiered on Broadway at the Booth Theatre on November 4, 2018. Directed by Kenny Leon, the production featured Kerry Washington, Steven Pasquale, Jeremy Jordan and Eugene Lee. In 2019, Netflix produced a film adaptation of the play with the original Broadway cast reprising their roles. 

Look for details about the entire 2026-2027 season and Ghostlight Ensemble at GhostlightEnsemble.com.

Ghostlight Ensemble is a registered 501(c)3 nonprofit theatre whose mission it is to ask questions that challenge the status quo through timeless stories, immersive environments and unconventional staging. As an ensemble-based theatre, Ghostlight is made up of individual artists who are dedicated to collaborative creation and committed to working together consistently over years to develop a distinctive body of work. We welcome you to learn more about us at GhostlightEnsemble.com.

Producer Jeffrey Seller and Broadway In Chicago have announced the world-premiere of the new musical THE PRINCESS BRIDE will begin performances in Chicago next summer at the James M. Nederlander Theatre, from July 19-August 22, 2027.

A miraculous blend of sword fights and satire, absurd fun and true romance, THE PRINCESS BRIDE has been both a beloved novel and celebrated film. Now, as you wish, it comes to enchanting life as a Broadway musical.

Like many timeless stories, this one asks the eternal question: Why does life have to be so complicated?

Journey to Florin, where a sweet-natured giant, a six-fingered (well technically 11-fingered) scoundrel, a vengeance-obsessed Spaniard, and an overconfident meanie all conspire to make things incredibly difficult for two young lovers just trying to live happily ever after. Prepare to die laughing and fall in love all at the same time, all over again.

The creative team features a book by Tony Award winner Bob Martin (The Drowsy Chaperone) and Tony-nominated Rick Elice (Jersey Boys), music and lyrics by Oscar-winning composers Kristen Anderson-Lopez (Frozen) and EGOT winner Robert Lopez (Frozen, The Book of Mormon), direction by Tony Award winner Alex Timbers (Moulin Rouge!) and choreography by Tony Award winner Andy Blankenbuehler (Hamilton, In the Heights).

Producer Jeffrey Seller is one of the most successful American producers of our time. He produced the Tony Award–winning musicals Rent, Avenue Q, In the Heights, and Hamilton. His shows have garnered twenty-two Tony Awards, including four for Best Musical. Jeffrey is the only producer to have mounted two Pulitzer Prize–winning musicals—Hamilton and Rent. He also revolutionized theater accessibility with the $20 ticket lottery for Rent, making theater affordable for all. 

The Princess Bride is based on the novel and Motion Picture written by William Goldman and the Motion Picture executive produced by Norman Lear and directed by Rob Reiner.

TICKET INFORMATION
THE PRINCESS BRIDE will be part of the next Broadway In Chicago season, on sale next month. Group tickets for 10 or more are on sale now by calling Broadway In Chicago Group Sales at (312) 977-1710 or by emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. Individual tickets will go on sale at a later date. 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, and just off the Magnificent Mile, the Broadway Playhouse at Water Tower Place and presenting Broadway shows at The Auditorium.

For more information and tickets, visit www.BroadwayInChicago.com.
 

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Collaboraction Theatre Company is thrilled to host a limited run of Unpacking Home by Chicago’s Raices to Roots as part of the 9th Destinos Chicago International Latino Theater Festival, September 18-27 at Collaboraction’s House of Belonging in Humboldt Park, Chicago’s live theater space for social change. 

Set against the cultural landscape of Chicago’s Puerto Rican diaspora, Unpacking Home is a multidisciplinary performance weaving dance, poetry, and music to explore a question that is both deeply personal and universally resonant: What does it mean to come home?

Performances are September 18-27: Friday and Saturday, September 18 and 19 at 8 p.m.; Sunday, September 20 at 3 p.m.; Thursday, September 24 at 8 p.m.; No show Friday, September 25; Saturday, September 26 at 8 p.m. and Sunday, September 27 at 3 p.m. Tickets are $25-$35. Collaboraction is located at the Kimball Arts Center, 1757 N. Kimball Avenue, in Humboldt Park. For tickets and information, visit collaboraction.org.

Collaboraction’s new House of Belonging is a sleek, 4,000-square foot space featuring a new 99-seat flexible studio theater and a 50-seat cabaret with cafe/bar. Free and nearby street parking is available. For CTA riders, the 82 Kimball-Homan bus stops right in front of the building. The theater is also a short walk from the Kimball stop on the 72 North and 73 Armitage bus lines. For bikers and pedestrians, the Kimball trailhead on The 606 leads directly to the Kimball Arts Center. 

About Unpacking Home

Unpacking Home follows The Poet, a character in search of home, who receives a suitcase from their ancestors filled with items that unlock memories and guide their journey through the Chicago Puerto Rican experience. Dancers embody these memories—giving form to identity, love, struggle, and resilience. From Abuela’s kitchen to snowy streets and the domino table, each vignette reveals a layer of belonging. The performance culminates in an invitation for the audience to reflect and share, completing the search for home as a collective act of remembrance.

“Unpacking Home is a familiar journey to anyone who identifies with multiple origins,” said Luis Tubens of Raices to Roots. “When I created this show, I wanted to create something that felt like home. To me, home is Chicago, and home is Puerto Rico. Although I’ve never lived in Puerto Rico, like many other people from the diaspora, I connect very strongly to my roots through stories I heard from my abuela, the food, the music, and dancing.” 

“Bringing Unpacking Home to Humboldt Park is especially meaningful,” Tubens added. “For generations, Humboldt Park has served as a cultural and political center of Chicago’s Puerto Rican community—a place where identity is expressed through music, food, art, language, family, and neighborhood traditions. Performing this work in the community that has helped shape the very stories being told creates a powerful connection between the stage and world which inspired it. At its heart, Unpacking Home is an invitation: to open the suitcase, examine what we have inherited, and consider which pieces of our past we carry forward.”

Unpacking Home features María Luisa Torres as principal Spirit Dancer, Luis Tubens as The Poet, and Alyssa Harlston, Mala Mia and Eddie Andino Jr. as Spirit Dancers. Musicians are led by Peter Vale on congas, Brenden Cabrera on piano, and Jacob Delgado on flute and sax. Sandra Delgado directs.

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), Syd Genco (Makeup Design), Keith Ryan (Wig Design), Kirsten Baity (Intimacy Director), Shane Roberie (Casting Director), Nicholas Reinhart (Production Manager), Amelia Osborn (Associate Production Manager), Corbin Paulino (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. 

Birds of North America, written by Anna Ouyang Moench, is a story of a father daughter relationship spanning a decade and weathering personal and worldwide conflicts while sharing their love of birdwatching.  Admittedly family relationships can be tricky at best.  Especially as children age into adulthood and make their own life choices and important decisions.  It is difficult for a parent to see them in a new light or role and the default of overly attempting to manage and advise them is not the best fit. 

In this scenario we find ourselves in a backyard of Baltimore, Maryland in a beautifully imagined set design by Morgan Laszlo.  We watch the relationship of John, the father (John Judd) and Caitlyn (Cassidy Slaughter Mason) ebb and flow throughout autumnal days and evenings on a backyard deck.  We can see that John is in the autumn of his years and struggling with an internal conflict if his life’s work has mattered, is significant or made a difference in the world.  Like many men of his generation, he prefers to keep the conflict internal.  And, Caitlyn wants to discuss deeper and more adult topics with her Dad…as long as they are not about her or his opinion of her.  Caitlyn goes through it, as they say, in the ten years of autumns of this piece.  Young love, marriage and many things that follow.  Ups, downs, disappointments, career crisis, what does it all mean?  

In the meantime, she and her Dad continue to communicate through spotting birds, hearing them, listening to their calls and determining what is a significant sighting.  All events we can march through relationships with.  There are scenes when they are hearing each other but not really listening as intently as they do for the elusive birds.  Does that mean they care about the birds more than each other? Or is it easier to tiptoe around landmines of emotion. Our two actors, Judd and Mason forge a believable poignant relationship on stage.  The pain each of them go through is palpable but not overt.  The most beautiful sort of acting that draws in an audience, especially in an intimate space that Red Orchid Theatre has to offer.

The sound design by Ethan Korvne also helps to set the scene and enhance the birding aspect of the show.  If you close your eyes for a second and listen to the bird calls it almost seems as if a fall breeze might pass by.  The pacing of the show and transitions are smooth and make the decade pass by in a credible page-turning manner giving you just enough time for thoughts of where they are headed next. It’s easy to see how this garnered seven Jeff Award nominations.

Whether or not you are a birding enthusiast (and my show companion is and loved it!) this is a piece about families, relationships, communication and remembering to listen without distraction, a tool we can all use in our lives.

BIRDS OF NORTH AMERICA, now playing at A Red Orchid Theatre in Chicago through October 4, 2026.

https://www.aredorchidtheatre.org for ticket and performance time information.

Mary Beth Euker is a founding director of Cricket Theatre Company in Lake Zurich, Illinois, has appeared in shows at Devonshire Theatre in Skokie and Woodstock Opera House and directs in Lake Zurich at various schools and for Cricket.

In a world of theatrical adaptations, there really are two kinds: some reinvent their source material, becoming their own “new” art, while others understand that the real pleasure they provide is in the audience seeing some beloved thing from the past brought back to life. Dirty Dancing: The Musical falls firmly into the second category. Is it a great musical? Not quite. But that’s not its purpose. As a pop-culture ritual connecting a multigenerational audience over their shared love of a movie (which never tried to be “great” cinema, either), it is undeniably effective. And with Dancing with the Stars returning next week (surely a favorite for this musical’s audience), the timing of this particular Broadway in Chicago production’s exceptional ballroom dancing could not have been better.

With original screenplay and book by Eleanor Bergstein and direction by Lonny Price, the adaptation recreates the film largely through its familiar soundtrack, supplemented by a handful of original songs. It quickly becomes clear that the production was cast with dancing as its first priority. That choice pays off whenever the music takes over: the cast members are remarkably skilled dancers, and the show’s most kinetic sequences capture the sensuality and excitement audiences expect from Dirty Dancing. Much of that impact comes from choreographer Darrell Grand Moultrie, whose work channels the film’s sensuality and athleticism with precision.

That energy largely disappears, though, when the dancing stops. Unfortunately, dialogue is often delivered with a stiffness that makes the performances feel robotic, leaving little sense of genuine connection between the characters. The chemistry missing from Baby and Johnny’s romantic scenes is just as absent from the story’s confrontations, friendships, and family relationships.

Blake Zelesnikar (Johnny Castle) and the DirtyDancing: The Musical Company. Photo by Matthew Murphy.

Almost as noticeably, the ensemble rarely displays the tight-knit community that should exist among Kellerman’s dance staff. These characters live and work together within the same rigid system; their relationships should feel immediate and deeply established. Instead, much of the large cast feels underutilized, when not simply crowded on the stage. The exception is the final number at the end-of-season talent show, when everyone suddenly moves with the same electric energy. It sends the audience out on an undeniable high, while also revealing how much more vibrant the entire production could have felt with that sense of spirit throughout.

Vocally, the cast is professional and polished, with two extraordinary exceptions: Ethan Peterson as Billy Kostecki and Ashley LaLonde as Elizabeth. Their voices are absolutely stunning. Nearly every pin-drop emotional moment in the production comes not from the dramatic plot, but from one of them singing.

Alongside its dancing among the production’s greatest triumphs is its scenic design, which transports us to the 1960s Catskills. The work of scenic designer Brett J. Banakis, costume designer Linda Cho, and lighting designer Japhy Weideman is central to creating that world. The set does not rely on spectacle or theatrical magic but is astonishing because it’s so perfectly planned and constructed to hold every corner of Kellerman’s – from polished guest spaces to humbler staff quarters, indoors and out. Seamless transitions allow locations to shift smoothly without interrupting the story’s momentum. I only wish the choreography had taken greater advantage of that flexibility, using the architecture to create more breakout moments for an ensemble overflowing with talented dancers.

Ultimately, Dirty Dancing: The Musical succeeds at recreating the movie onstage but rarely explores what live theatre could add to it.

But despite any limitations, this production provides exactly what its audience desired: an enjoyable night powered by nostalgia, tremendous dancing, and a finale worth waiting for – even if it never becomes an exceptional musical independent of the film audiences already love.

Dirty Dancing: The Musical runs at the James M. Nederlander Theatre through September 20th. Tickets are available at https://www.broadwayinchicago.com/shows/dirty-dancing-the-musical/.

The Gift Theatre, led by Artistic Directors Brittany Burch and Jennifer Glasse, continues its 25^th Anniversary Season with the world premiere of Hayward by Gift ensemble member Netta Walker, directed by AmBer Montgomery. Presented in Steppenwolf's 1700 Theatre, 1700 N Halsted St in Chicago, Hayward runs October 14 – November 15, 2026. The opening is Sunday, October 18, 2026, at 6:00 pm.

Tickets, priced at $45-50, are on sale now through Steppenwolf Theatre Company's box office, http://steppenwolf.org/hayward, and (312) 335-1650. Presenting this production during the Gift's anniversary season in Steppenwolf Theatre's 1700 Theatre feels like a homecoming for the company. Many in the ensemble first met at The School at Steppenwolf, and those experiences shaped how the company thinks about telling stories.

The cast features Gift ensemble members Shanésia Davis and Gregory Fenner and guest artists Ireon Roach, Sydney Charles, Victor Musoni, Watson Swift, and Alfred H. Wilson.

The creative team is AmBer Montgomery (director), Martel Manning  (assistant director), Sydney Lynne (scenic designer), Daniella Brown (sound designer), Saawan Tiwari (costume designer), G. "Max" Maxin (lighting designer), Mariah Bennett (props designer), Maya Vinice Prentiss (violence director), Sarah Luse (stage manager), Dorothy Craven (assistant stage manager), Tom Daniel (technical director and Jennifer Aparicio (production manager). Brittany Burch and Jennifer Glasse are co-artistic directors.

Hayward reimagines Hamlet and Electra through the eyes of Luna, who reveals to her family — on the day of their father's funeral — that his ghost has come to see her. Beneath the haunting, this is a love story: a daughter's love for her father, and the complicated, unresolved feelings he left behind. The story follows a family shaped by the trauma passed down by a father who served in the Navy during the Gulf War. Across grief, they reach for each other, trying, imperfectly, to come back together.

Developed through the Pearl Cleage Writers Workshop with Goodman Theatre and Remy Bumppo Theatre Company, and named a semifinalist for the 2025 Eugene O'Neill National Playwrights Conference, Hayward is exactly the kind of bold new work The Gift Theatre was built to tell.

The Gift Theatre Co-Artistic Directors Brittany Burch and Jennifer Glasse comment, "We are so excited to produce this powerful world premiere by Ensemble Member Netta Walker. As one of our newest ensemble members, Netta's history with The Gift goes back 10 years, beginning in 2017 when she understudied The Grapes of Wrath in her first professional play. After last summer's sold-out In the Works reading of Hayward, we are thrilled to bring this beautiful and deeply personal play to the stage."

Fact Sheet | Hayward

Playwright: Gift Theatre Ensemble Member Netta Walker

Director: AmBer Montgomery

Cast:    Gift Theatre Ensemble Members: Shanésia Davis and Gregory Fenner  

Guest Artists: Ireon Roach, Sydney Charles, Victor Musoni, Watson Swift, Alfred H. Wilson

Dates: October 14 – November 15, 2026

Audio description: November 12, 2026

Captioning: November 13, 2026

Location: Steppenwolf's 1700 Theatre, 1700 N Halsted St in Chicago

Tickets: $45-50

Box office: http://steppenwolf.org/hayward; (312) 335-1650

If you are a veteran who has served or is currently serving in the United States Armed Forces, we thank you for your service to our country.  Veterans may purchase tickets for $15 with code HAYWARDVET with an Active Duty, Reserve, or Retired Military ID Card.

About the Artists: Link to all artist bios and headshots

Netta Walker | Playwright

Netta Walker is an actor and playwright who began her career onstage in Chicago 10 years ago as the Rose of Sharon understudy at The Gift Theater for "The Grapes of Wrath". Now she is known for starring as Keisha McCalla in "All American: Homecoming" and "All American" on The CW for 3 seasons. In 2019, she won a Jeff Award for "Best Supporting Performance in a Play" ("Yen", Raven Theater) and was quickly named one of the Chicago Tribune's "Hot New Faces" by theater critic Chris Jones.

She studied playwriting at The LIR at Trinity College for a year while simultaneously taking acting classes at RADA. As a writer in the Pearl Cleage writers workshop with the Tony Award winning Goodman Theater and Remy Bumppo Theater Company, she began developing Hayward - which was choosen as a Eugene O'Neill National Playwrights Conference 2025 Semifinalist. Her play keerah was selected as a winner in Definition Theaters' 2024 AMPLIFY New Play Festival, where it is set to be workshopped for two years. keerah has also been performed in scratch nights in London with Irish speaking casts. Her Filipino short film Balik won the Horror/Thriller short script category at Hollywood Just4Shorts Film and Screenplay competition, as well as being selected for London Film Festival International and Edinburgh FFI. This was swiftly followed by her short script Baby Gay being selected for the Chicago Script Awards and as a Cambridge Script Festival finalist (LGBTQ Screenplay). Both shorts were selected for the Best Script Awards screenplay competition in London in the same year. Walker was also chosen to pitch her original feminist dystopian series House of Dixie at the American Cinemtheque's Proof of Concept Film Festival in LA in 2024 - it then went on to be selected as a Quarterfinalist for WeScreenplays' Diverse Voices Lab Spring 2025. She is now adapting it for stage.

Chicago onstage acting credits include: Lion in Winter (Court Theater), How to Defend Yourself (Victory Gardens, original cast); Yen (Raven Theatre, Jeff Award for Best Supporting Actor); Hamlet, Grapes of Wrath (The Gift); No Child (Definition Theatre); Continuity (Goodman); truth and reconciliation (Sideshow Theatre Company); Great Expectations (Silk Road Rising/Remy Bumppo); The Wickhams: Christmas at Pemberley (Northlight, original cast) and in workshops and reading series with companies like Steppenwolf Theater, Jackalope Theater, and Pride Films and Plays. Regional: Miss Bennet: Christmas at Pemberley (Milwaukee Rep).

Born and raised on the Florida/Georgia line in the Westside of Jacksonville, Florida, her unique background as a child of an immigrant and a Navy Chief influences every decision of storytelling she makes. The blended cultures of Cebuano Filipina and traditional Southern African-American heritage fuel her passion for creating multicultural, multilayered, and nuanced representation of the human condition in the arts.

Special events:

These events happen immediately following the respective Sunday performances of Hayward:

October 25, 2026: Scholar Sunday | African American Literature & Psychology of Trauma Speakers: Tara Betts | Author & Professor in Peace, Conflict Studies and Social Justice at DePaul University & Judith Singleton | Professor of Sociology and Criminology at Dominican University

November 8, 2026: Scholar Sunday| The Role of African-American Soldiers in Literature | Speakers: Names to Follow 

The Gift Theatre's 25^th Anniversary Season continues with:

ANNUAL GHOSTLIT AT GALE STREET INN

Dinner and drinks are available for purchase with specialty cocktails designed for the event.

4914 N Milwaukee Ave, Chicago, IL 60630 - Monday October 26th - Doors at 6:00pm

Tickets $25 online or $30 at the door

Come gather at the inn to warm your bones and chill your blood. Join The Gift Theatre for our annual evening of live ghost stories and haunting songs presented this year at The Gale Street Inn!

25th ANNIVERSARY BENEFÊTE PERFORMANCE

at Copernicus Center — Gateway Theatre 5216 W. Lawrence, Chicago, IL

December 7, 2026

Tickets $75, thegifttheatre.org and (773) 283-7071 | Tickets on sale now: https://thegifttheatre.org/event/homecoming-benefete/

The season will close out with a spectacular, one-night-only celebration honoring a quarter century of The Gift Theatre. This 25th Anniversary Benefête Performance, will be a night featuring our favorite scenes from over the years performed by ensemble members —the artists who have shaped this theatre across generations.

About The Gift Theatre
The Gift Theatre is a storefront nonprofit theater founded in Chicago's Jefferson Park neighborhood, committed to creating accessible, inclusive, and impactful theatrical experiences. 

Our identity is defined by intimacy, collaboration, and a belief that live storytelling can inspire and transform both artist and audience. 

What began as a spatial limitation became a revelation. For nearly 20 years, we performed in a renovated shoe store—Chicago's smallest Equity theatre—where audience members sat just inches from the actors. That intimacy didn't just shape our work; it shaped who we are as artists.

We've learned to lean into the vulnerability and electricity that arise when actor and audience share the same breath, both fully present in mutual emotional exchange.

At the Gift, we are only interested in work that is challenging and transformative —stories that ask big questions and risk discomfort in pursuit of deeper understanding. We delight in the dark humor and unexpected joy that surface in life's messiest moments, reminding us that even pain can carry connection and light. We believe that every story, at its heart, is a love story—rooted in longing and a search for communion. 

Our programming isn't bound by genre but guided by character-driven, emotionally rich storytelling rooted in truth. Whether surreal or starkly naturalistic, each play we share reflects our commitment to creating spaces of deep connection—among artists, between artist and audience, and within our community.

Presenting this show during our anniversary season at Steppenwolf's 1700 Theatre feels like coming home — many in the ensemble first met at The School at Steppenwolf, and those experiences shaped how they think about telling stories.

The Gift Theatre Ensemble includes its newest members Jennifer Aparicio, Shanésia Davis, Angela Morris, Jennifer Rumberger, Netta Walker, and Patrick Weber. They join fellow ensemble members Daniel Ahlfeld, Cyd Blakewell, Brittany Burch, Hillary Clemens Harbor, Jenny Connell Davis, John Kelly Connolly (in memoriam), Paul D'Addario, Brendan Donaldson, Will Eno, James D. Farruggio, Gregory Fenner, Ed Flynn, Gabriel Franken, John Gawlik, Maggie Andersen Gawlik, Emjoy Gavino, Jennifer Glasse, Andrew Hinderaker, Chika Ike, Evan Michael Lee, Sarah Luse, Marti Lyons, Alexandra Main, Martel Manning, Laura Marks, Kenny Mihlfried, Benjamin Montague, William Nedved, Darci Nalepa, Keith Neagle, Lynda Newton, Sheldon Patinkin (in memoriam), Maureen Payne-Hahner, David Preis, David  Rabe, Mary Ann Thebus (in memoriam), Michael Patrick Thornton, Hannah Toriumi, Erica Weiss, Jay Worthington, and Kyle Zornes.

Steep Theatre will open its new theater this coming January with the U.S. Premiere of playwright Simon Stephens' A Slow Fire. The production, which opens January 22, 2027, will be directed by Steep Ensemble Member Robin Witt and continues the company's long-running relationship with its Tony and Olivier Award-winning Artistic Associate, Stephens. A Slow Fire will mark the company's much-anticipated return in its new home and a full-production calendar. Season tickets are now available online at Steeptheatre.com 

In A Slow Fire, Ashton and Reece shelter in a converted storage unit in a post-apocalyptic wasteland. They sustain themselves by reenacting moments of hope from their past until forces from the outside world challenge how best to carry hope forward. 

A Slow Fire premiered in January 2026 at Glass Mask Theatre in Dublin and made its London premiere August 2026 at the Jermyn Street Theatre in the West End. Simon Stephens is a Tony and Olivier Award-winning playwright whose plays have been widely produced in the UK, Europe, Australia, and the US. Stephens is an artistic associate at the Lyric Hammersmith and has been an associate playwright of Steep Theatre since 2013. Director Robin Witt has directed six of Steep's Simon Stephens productions, including Light Falls and Harper Regan.

"Steep's new home will be a testament to the extraordinary faith and generosity of so many in our community," said Steep's Artistic Director, Peter Moore. "I can think of no better way to mark our homecoming than with a new work from our dear friend Simon that celebrates storytelling, community, and hope - albeit in a very Steep way."

Steep's new theater, located at 1044 W. Berwyn, will be a dynamic theatrical venue that reflects the company's commitment to fearless storytelling, inclusive collaboration, and community building. The company has partnered with Civic Projects Architecture, which has been recognized for its experience with community-oriented space, prioritizing universal design and physical accessibility. Steep also worked with Norcon, Inc. to manage the construction of the new space and CharcoalBlue as theater and venue consultants. 

The acquisition and renovation of Steep's new home were made possible by the extraordinary generosity of Steep patrons and community, a grant from the Paul Angell Foundation, a capital funding grant from the Illinois Department of Commerce & Economic Opportunity (DCEO) and the City of Chicago, which awarded Steep more than $3.8 million in grant funds to support the project.

Called 'the most fearless theater in town' by the Chicago Tribune, Steep has produced over 80 plays with remarkable critical and commercial success, earning 63 Jeff Award nominations, 12 Jeff Awards, and recognition on numerous "Best of" lists, including the Tribune's Top Ten Shows of the Year and WBEZ's Top Ten Shows of the Decade.

WHAT:

The U.S. Premiere of

A Slow Fire

by Simon Stephens

Directed by Robin Witt

Sheltered in a converted storage unit in a post-apocalyptic wasteland, Ashton and Reece sustain themselves by reenacting moments of hope from their past, until forces from the outside world challenge how best to carry hope forward. 

WHERE:

Steep Theatre

1044 West Berwyn Avenue

Chicago, IL 60640

WHEN:

January 22 – February 28, 2027

Previews: January 16, 17, and 21, 2027

Press Opening: Friday, January 22, 2027 at 7:30pm

Schedule: Thursday, Friday, and Saturday nights at 7:30 pm | Sunday matinees at 3 pm

Accessible Performances: To be announced

Contact us at This email address is being protected from spambots. You need JavaScript enabled to view it. or 773-649-3186 for more information.

CONTACT INFORMATION:

Web: www.steeptheatre.com

Phone: 773-649-3186

Email: This email address is being protected from spambots. You need JavaScript enabled to view it.

Steep Theatre Company

1044 W Berwyn Ave.

Chicago, Illinois 60640

Social:

Facebook: SteepTheatre

Instagram: @steeptheatre

LinkedIn: @SteepTheatreCompany

CAST

Nate Faust*

Peter Moore*

Melissa Riemer*

Omer Abbas Salem*

CREATIVE TEAM:

Director: Robin Witt*

Stage Manager: Lauren Lassus*

Production Manager: Jennifer Aparicio

Scenic Design: Sotirios Livaditis

Lighting Design: Brandon Wardell*

Costume Design: Sally Dolembo

Sound Design: Thomas Dixon*

Props Design: Spencer Diaz Tootle

Dramaturg: Jean Marie Higgins

Intimacy and Violence Consultant: Christina Gorman

Assistant Director: Spencer Diedrick

* denotes Steep Ensemble Member 

Production Sponsors: Ken Burlington, James T. O'Neill, Timothy Sherck, Barbara & Randy Thomas, Lisa & Randy White, and Martha Anne & Stephen Yandle 

Steep Theatre is supported in part through generous grants from the Paul Angell Foundation, the Bayless Family Foundation, the Gaylord & Dorothy Donnelley Foundation, and the Illinois Arts Council Agency.