Displaying items by tag: on stage

Need something better than old reruns of Hallmark Movies this holiday season? Want to see some real nut-crackers?

Then dash on through the snow to catch The Second City’s Nut-Cracking Holiday Revue, November 20-December 23 at Paramount’s Copley Theatre, 8 E. Galena Blvd. in downtown Aurora.

Classic holiday family gatherings, office parties, movies, and Mariah Carey on infinite repeat will be severely lampooned in this fast-paced, interactive comedy revue stuffed with seasonal songs, sketches, and, of course, a heaping slice of Second City’s world famous improv comedy. 

See the revue that will have you Ho Ho Ho’ing and Ha Ha Ha’ing all through this un-silent night. Performances are November 20-December 23: Thursday at 7:30 p.m., Friday at 8 p.m., Saturday at 3 and 8 p.m., and Sunday at 3 p.m. No show on Thanksgiving, Thursday, November 26. Added holiday week performances are Monday, Tuesday and Wednesday, December 21- 23 at 7:30 p.m.

Tickets are $45*. For tickets, visit ParamountAurora.com, call (630) 896-6666, or stop by the Paramount box office Monday through Saturday, 10 a.m. to 6 p.m., or until show time on show days. For group discounts, contact Melissa Striedl, This email address is being protected from spambots. You need JavaScript enabled to view it. or (630) 723-2461. *Prices are for in-person purchases. Additional fees apply for phone and online orders.

Black Girls Dance^®, which centers Black and Brown girls in joyful community, presents its sixth annual production of Mary, A Holiday Dansical, choreographed, written, and directed by Founder Erin Barnett. This fundraiser returns for one night only Sunday, December 13 at 4 p.m. at the Reva and David Logan Center for the Arts, 915 E. 60th Street, Chicago.
 
Mary, A Holiday Dansical is a modern twist on the traditional Black Nativity told through ballet, hip hop, tap, and contemporary dance. The first act focuses on the struggles of a typical teenage girl searching for her purpose in life. She is visited by an angel (ballerina) and learns she will conceive and bring forth a child who will be the Savior. Mary turns to her mother and close circle of friends for support, similar to today's teenagers. The second half includes Christmas songs such as "Mary, Did You Know'" and holiday favorites like "Joy to the World."

The cast of 33 dancer-actors includes Abigail Baker, a junior at St. Ignatius College Prep, in the lead role of Mary. Joining the cast this year are Lori Wiggins as the Angel and Myles Harris as Joseph, both appearing courtesy of Deeply Rooted Dance Theater.

Mary continues to raise funds for BGD's capital campaign, supporting the creation of its new home, the Full Circle Performing Arts Center, 9350 S. South Chicago Ave. The center is on track to open in fall 2027. BGD was recently awarded a $150,000 predevelopment grant from the City of Chicago to support the project. "When audiences support Mary, they help create more opportunities for our girls onstage and bring us closer to a permanent home," said Barnett. "Full Circle will give us room to grow and welcome South Side families into a space where the arts and wellness are part of everyday life."

Mary, A Holiday Dansical takes place
Sunday, December 13 at 4 p.m.
at the Reva and David Logan Center for the Arts,
915 E. 60th Street, Chicago.
 
Tickets are $24 for reserved seating, $66 for VIP reserved seating,
available at ticketfalcon.com/e/mary2026/.

 
All programming is subject to change. For information, visit blackgirlsdance.org.
 
Black Girls Dance^®, founded by Erin Barnett in 2015, is a Chicago-based nonprofit organization dedicated to empowering young dancers of color through high-quality dance education, artistic development, and performance opportunities. More than a dance studio, Black Girls Dance creates a community where young people experience a sense of belonging, build confidence, develop their artistry, and discover their potential both on and off the stage. Founded on the belief that dance is a powerful vehicle for empowerment, the organization became a 501(c)(3) nonprofit in 2021.Barnett, a Chicago native, was the first African-American dancer to portray Clara in the Chicago Tribune Charities production of The Nutcracker at McCormick Place. Her professional career includes international tours with Garth Fagan Dance and Philadanco!, a three-year run as Sarafina in The Lion King in Las Vegas, and a performance with Beyoncé at the Billboard Awards. She is also the author of two children's books, Get Outta Here Stage Fright! and Do You Speak Ballet?, inspired by her passion for dance education and empowering young people.

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

JK Entertainment has released first look rehearsal photos for WHEN WE WERE YOUNG AND UNAFRAID, the first production of the company's second season. JK Entertainment's production brings this story to Chicago audiences November 12–29, inviting audiences to consider how far the fight for women's autonomy has come—and how much remains unresolved.

In a time before Roe v. Wade and the Violence Against Women Act, Agnes has transformed her quiet bed and breakfast into a refuge for women escaping domestic violence. But when Mary Anne, a new arrival, begins to influence Agnes's college-bound daughter, Penny, the carefully maintained boundaries of Agnes's world begin to shift. As ideas of freedom and independence take hold beyond the walls of her home, Agnes must confront her own assumptions about the women she has dedicated her life to helping.

Through intimate relationships and generational tensions, WHEN WE WERE YOUNG AND UNAFRAID examines the complexities of protection, independence, and what it means to determine one's own future. Though set more than five decades ago, the play raises questions that continue to resonate today.

JK Entertainment will donate $1 of every ticket sold to Connections for Abused Women and their Children, a Chicago organization that provides aid and resources for survivors of domestic violence.

Performances begin November 12, 2026, with tickets available now at jkentertainment.org/theatre/when-we-were-young-and-unafraid.

WHEN WE WERE YOUNG AND UNAFRAID is presented by arrangement with Concord Theatricals on behalf of Dramatists Play Service. www.concordtheatricals.com

TICKET INFORMATION
Individual tickets priced from $36 - $41 and group sales for 5 or more are available now. This production is a part of the full season subscription starting at $70. For additional information and to purchase tickets, visit jkentertainment.org/theatre/when-we-were-young-and-unafraid. 

Greenhouse Theater Center 2257 N Lincoln Ave. Chicago, IL 60614 November 12 – 29, 2026

ABOUT JK ENTERTAINMENT
JK Entertainment is a Chicago-based nonprofit producing theatre, film, music, and other media for audiences who think differently. Founded by Jonathan James, Kyle Reid Hass, and Olivia Kaye Da Silva, in the wake of a sold-out Chicago run of The Outsiders, the company champions bold, boundary-pushing work at the intersection of art and activism.

To learn more about JK Entertainment and keep up with future projects visit jkentertainment.orgFollow JK Entertainment on Instagram, TikTok, and  Facebook  #jkentertainment

Buffalo Theatre Ensemble (BTE), the professional Equity theater company
in residence at the McAninch Arts Center (MAC), opens its 2026-27 three-play season with "Louisa May Alcott's Little Women," by Lauren Gunderson, directed by BTE Managing Artistic Director Daniel Millhouse+*. Performances run Nov. 12-Dec. 13. There will be a preview performance at 7:30 p.m., Thursday, Nov. 12.

In Gunderson's fresh and heartfelt adaptation of Alcott's classic novel "Little Women," the four March sisters step onto the stage with new vitality and emotional clarity. As Jo, Meg, Beth and Amy navigate growing up during the Civil War, they chase dreams, confront loss and discover the fierce power of family. Splash Magazine calls it, "an absolute delight from start to finish." "Ideal for a multigenerational theatrical outing," says Pioneer Press. Chicago Stage and Screen hails it as, "a heartwarming experience perfect for the holiday season."

In this play, Gunderson uses novelist Alcott as the narrator who melds into the character Jo, illustrating how the author's own life shaped the story. She incorporates prose and non-dialogue narration from the classic novel, an approach sure to resonate with fans of the book. Yet, those not familiar with the book will easily savor this heartwarming tale.

Gunderson has been recognized by TCG's American Theatre Magazine as America's most produced living playwright (2025-26). She is also the co-writer of the popular Austen-esque "Christmas at Pemberley" trilogy that ran sequentially over the course of BTE's past three holiday seasons. "Louisa May Alcott's Little Women" was originally co-commissioned by Northlight Theatre (Skokie, Ill.), City Theatre Company (Pittsburgh Pa.), People's Light (Malvern, Pa.) and TheatreWorks Silicon Valley (Palo Alto, Calif.) and premiered at, Northlight on Nov. 29, 2024.

"There's always something special about opening a new season, and "Little Women" is the perfect story to begin with: a celebration of family, resilience and the dreams that carry us forward," says Millhouse. "BTE has a proud tradition of bringing together exceptional established artists, and this production is no exception, with costumes by 2026 Jeff Award winner and BTE Ensemble member Aly Greaves Amidei and original music and sound design by Ensemble member Christopher Kriz. BTE is equally committed to supporting new talent, and I'm thrilled that this cast features a new generation of gifted young performers, most of whom are making their MAC debut."

The cast for "Louisa May Alcott's Little Women," features Valerie Martire (Louisa/Jo), Carol Kelleher (Meg), Marina Jokanovic (Beth), Adrianne Cury* (Marmee/Aunt March), Alexander Wisniewski (Laurie) and Ari Ford Golin (John, Mr. Laurence, Mr. March, Friedrich).

Director is Daniel Millhouse+*. The rest of the design team includes Caitlyn Girten (scenic design), Aly Greaves Amidei+^ (costume design), Garrett Bell (lighting design), Christopher Kriz+^ (composer and sound design), Paloma Locsin (properties design) and Amber Wuttke (fight and intimacy director/coordinator). Caitlin I. Quinn* is stage manager. Nicholas Washington is Assistant Stage Manager. Harry Smith is Student Assistant Stage Manager.

Tickets

Buffalo Theatre Ensemble presents "Louisa May Alcott's Little Women" at the McAninch Arts Center, 425 Fawell Blvd. on the campus of College of DuPage ,Nov. 12-Dec. 13. Performances are 7:30 p.m. Thursdays, Fridays and Saturdays; 3 p.m. Saturday, Nov. 28 and Sundays. The is no performance Thursday, Nov. 26. Tickets are $46. For tickets or more information, visit AtTheMAC.org.

There is an ASL performance at 7:30 p.m., Thursday, Dec. 3

Related Events:  
• Pre-show Discussion: 6:45 - 7:15 p.m. Thursday, Nov. 12
• Post-show Discussion Friday, Nov. 20

About Buffalo Theatre Ensemble

The mission of Buffalo Theatre Ensemble is to provide a forum in which artists, scholars, writers, students and community members explore new ideas and provocative issues through the production of quality theater for the enjoyment of its audiences. Celebrating their 40th anniversary, BTE has staged more than 125 productions. The Artistic Staff for BTE includes Daniel Millhouse+* (Managing Artistic Director), Stephen Schellhardt*~ (Associate Artistic Director) and Bryan Burke+* (Business Manager).

BTE Ensemble members are Aly Greaves Amidei^, Robert Jordan Bailey*, Amelia Barrett*, Bryan Burke*, Connie Canaday Howard*, Rebecca Cox, Lisa Dawn, Nick DuFloth, Jon Gantt, Christopher Kriz^, Daniel Millhouse*, Laura Leonardo Ownby, Michael W. Moon, Kurt Naebig*, Galen G. Ramsey*, William "Sandy" Smillie* and Kelli Walker. For more information about BTE, visit btechicago.com.

+ Denotes BTE member. *Denotes member of Actors' Equity; ^Denotes member of United Scenic Artists .

~Associated Actors and Artistes of America

Buffalo Theatre Ensemble is partially supported and funded by generous grants from Choose DuPage, College of DuPage Foundation, The Norm Woodel Inspiration Fund, Arts DuPage – a DuPage Foundation Initiative, Benevity and the Illinois Arts Council Agency. 

About The MAC  

McAninch Arts Center at College of DuPage is located 25 miles west of Chicago near I-88 and I-355. It houses three indoor performance spaces (the 780-seat proscenium Belushi Performance Hall; the 186-seat soft-thrust Playhouse Theatre; and the versatile black box Studio Theatre), the outdoor Lakeside Pavilion, plus the Cleve Carney Museum of Art and classrooms for the college's academic programming. The MAC has presented theater, music, dance and visual art to more than 1.5 million people since its opening in 1986 and typically welcomes more than 1117,000 patrons from the greater Chicago area to more than 388 performances each season. For more information visit AtTheMAC.org.

Share the Spirit of the Holiday

From Nov. 13 - Dec. 20, the MAC Giving Tree (located in the MAC lobby) is accepting food donations for COD Student Fuel Pantry and People's Resource Center.  

Steppenwolf Theatre Company and Mark Cortale are pleased to announce the return of Tony Award-winning Broadway star Jessie Mueller (Beautiful: The Carole King Musical, Carousel, Waitress) playing three performances only December 18 & 19, 2026 in Steppenwolf's Downstairs Theater, 1650 N. Halsted St. in Chicago. The evening promises a seamless mix of intimate, behind-the-scenes stories prompted by funny, insightful and revealing questions from SiriusXM Radio star Seth Rudetsky (on piano) with music from Mueller's stellar career, plus a sprinkling of holiday favorites. 

Tickets cost $89* – $149*. A special Steppenwolf member pre-sale begins Tuesday, October 20, 2026 at 12 pm. Tickets go on sale to the general public Thursday, October 22, 2026 at 12 pm at steppenwolf.org/jessiemueller or by calling the Box Office at (312) 335-1650. *Pricing includes $10 handling fee

Performance schedule:

Friday, December 18, 2026 at 7:30 pm
Saturday, December 19, 2026 at 3 pm & 7:30 pm

About the Artists:

Jessie Mueller was most recently seen on Broadway in Tracy Letts' The Minutes. Previously, Jessie starred on Broadway in the revival of Carousel (Drama Desk Award, Tony, Grammy nominations). She originated the roles of Jenna in Waitress (Tony, Drama Desk, Grammy nominations) and Carole King in Beautiful: The Carole King Musical (Tony, Drama Desk, Grammy Awards). Other Broadway credits include Nice Work If You Can Get It and On a Clear Day You Can See Forever.  She will be returning to the Kennedy Center this Fall in Guys and Dolls. TV/film: Patsy & Loretta, Madam Secretary, Blue Bloods, Evil, Candy, Chicago Voices (Chicago Emmy nomination), Steven Spielberg's The Post, A Good Person and Secret Headquarters.

Seth Rudetsky spent many years on Broadway as a pianist and/or conductor on shows like Les Misérables, Ragtime and Phantom of the Opera, as well as two years as a comedy writer on The Rosie O Donnell Show (three Emmy nominations with his co-writers) which led to him writing two opening numbers for the Tony Awards. He is now the afternoon deejay on the SiriusXM Broadway channel, as well as the host of his own talk show, Seth Speaks. He has performed his show, Deconstructing Broadway in London, Boston (Irne award) and L.A. (with Barbra Streisand in the audience!). He co-wrote and co-starred in Disaster!! (a New York Times Critic's Pick) on Broadway, which was licensed by Music Theater International and is being performed all over the country. After the Pulse Nightclub shooting, James Wesley Jackson told Seth an idea he had of doing an all-star "What The World Needs Now Is Love" and they recorded it with around 50 stars including Carole King, Idina Menzel, Gloria Estefan, Bernadette Peters, Jessie Mueller ('natch!) and more. The single went to number one on iTunes, has raised over $100,000 for the Pulse nightclub victims and families, as well as the Trevor Project and they performed it at the 2016 Democratic National Convention. When the COVID lockdown began, Seth and James started the twice-a-day livestream Stars In The House with reunions of original casts of Broadway shows like Ragtime, A Chorus Line and Cats, as well as TV shows like Grey's Anatomy, Taxi and Frasier. The livestream raised over $1,000,000 for the Actors Fund and over $100,000 for other charities like NAACP LDF and "You Gotta Believe" for foster youth. Seth has published numerous books including "The Rise And Fall Of A Theatre Geek" (Random House) and the recent "Musical Theatre For Dummies". After October 7,  2023, Seth founded The Jewish Broadway Alliance which is now a 501(c)3. He also runs Seth's Broadway Cruise and will soon be sailing with some of his favorite stars to the Caribbean, Bermuda, The Greek Isles and the ABC Islands. You can get more info on his cruises and see tons of his videos at SethRudetsky.com.

Accessibility:

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

Sponsor Information: 

United Airlines is the Official and Exclusive Airline of Steppenwolf. Steppenwolf is also grateful for the significant season support from lead sponsors Allstate Insurance Company, Paul Angell Foundation, Bloomberg Philanthropies, Crown Family Philanthropies, Caroline and Keating Crown, Julius Frankel Foundation, Lefkofsky Family Foundation, Northern Trust, Anne and Don Phillips, John Hart and Carol Prins, Shubert Foundation, Inc, and Zell Family Foundation. Steppenwolf also acknowledges generous support from premier sponsors Anonymous, Andrew and Amy Bluhm, Michael and Cathy Brennan, Ann and Richard Carr, Chicago Community Trust, Rich and Margery Feitler, FROST CHICAGO, Lloyd A. Fry Foundation, Jessica and Dominic Green Family Fund, John D. and Catherine T. MacArthur Foundation, The Orlebeke Foundation, Sacks Family Foundation, Gary Sinise Foundation, Harold and Mimi Steinberg Charitable Trust, Thoma Bravo, and Bryan Traubert and Penny Pritzker. Steppenwolf also acknowledges support from the National Endowment for the Arts, Illinois Arts Council, and the City of Chicago Department of Cultural Affairs and Special Events.     

About Steppenwolf Theatre Company:

Steppenwolf Theatre Company is the nation's premier Ensemble Theater with 51 members who are among the top actors, playwrights and directors in the field. Thrilling, powerful, groundbreaking productions have made this theatre legendary. From the early phenomenon of Balm in Gilead, to The Grapes of Wrath, August: Osage County, Downstate, The Brother/Sister Plays, and more recently, the Pulitzer Prize and Tony Award-winning Purpose, Steppenwolf Theatre has had a long-running and undeniable impact on American Theatre and Chicago's cultural landscape. Founded in 1974 by Terry Kinney, Jeff Perry and Gary Sinise, Steppenwolf started as a group of friends in their teens and early 20s performing in the basement of a school in Highland Park, Illinois. Today, the company's artistic force remains rooted in the original vision of its founders: an artist-driven theatre, whose vitality is defined by its appetite for bold and innovative work. Every aspect of Steppenwolf is rooted in its Ensemble ethos, from the intergenerational artistic programming to the multi-genre performance series LookOut, to the nationally recognized work of Steppenwolf Education and Engagement which serves nearly 15,000 teens annually. While grounded in the Chicago community, more than 40 original Steppenwolf productions have enjoyed success nationally and internationally, including Broadway, Off-Broadway, London, Sydney, Galway and Dublin. Steppenwolf also holds accolades that include the National Medal of Arts, 14 Tony Awards, two Pulitzer Prize-winning commissions and more. Led by Artistic Directors Glenn Davis and Audrey Francis, Executive Director E. Brooke Flanagan and Board of Trustees Chair Keating Crown — Steppenwolf continually redefines the boundaries of live theater and pushes the limits of acting and performance.

Steppenwolf's Mission: Steppenwolf strives to create thrilling, courageous and provocative art in a thoughtful and inclusive environment. We succeed when we disrupt your routine with experiences that spark curiosity, empathy and joy. We invite you to join our ensemble as we navigate, together, our complex world. steppenwolf.org, facebook.com/steppenwolftheatre, twitter.com/steppenwolfthtr and instagram.com/steppenwolfthtr.

A gentle, tide‑easy current settles in right from the start, immediately signaling the kind of story this musical wants to tell. Rather than relying on big, splashy moments, it settles into a warm, beach-side rhythm, inviting the audience into a world where the pace is slower, the mood is lighter, and the soundtrack does most of the lifting. It’s a straightforward setup that frames the show’s island‑styled escapism - and Jimmy Buffett fans, the devoted Parrotheads, are the ones most likely to find the deepest enjoyment in the sunny, good‑natured spirit of Escape to Margaritaville, now playing at North Shore Center for the Performing Arts in Skokie.

The plot is about as simplistic as it gets, and the musical makes no attempt to complicate it - and wisely doesn’t try. This is a tropical resort fantasy through and through. Greg Garcia and Mike O’Malley’s book embraces the unhurried appeal of Jimmy Buffett’s catalog, following Tully, an unassuming island singer who’s perfected the art of keeping life simple. His routine of strumming for tourists and dodging commitment gets disrupted when Rachel, a driven, no‑nonsense researcher collecting soil samples for her environmental research, arrives with no interest in island romance. Their unlikely connection sets off a laid‑back, free‑wheeling story about unwinding, taking risks, and discovering that paradise has more to do with perspective than palm trees.

Music Theater Works’ production, directed and choreographed by Brenda Didier with co-direction from Sarafina Vecchio and choreography support from Clayton Cross, embraces the show’s escapist spirit with bright staging and a playful sense of fun. Linda Madonia’s music direction anchors the evening from above, leading a band perched atop the set and sending out a steady stream of easy-going, gentle sound. The placement and style add to the show’s illusion of an oceanfront getaway, as if the music itself were drifting in from somewhere just beyond the shoreline. The plot may be light, but that’s the point - this is a feel good, cocktail in hand comedy where the stakes are low, the energy is high, and the journey is as mellow as the island wind the characters keep singing about.

(L to R) Kate McQuillan and Brian Acker in JIMMY BUFFETT’S ESCAPE TO MARGARITAVILLE. Photos by Brett Beiner Photography.

Brian Acker brings a loose, sun-warmed charm to Tully, giving the beach-town, guitar-slinging singer enough sincerity to keep the character from drifting into pure caricature. His vocals land with clarity and confidence, especially in Buffett staples like “Margaritaville,” where he captures the relaxed swagger that defines the show’s tone. He’s immediately likable and effortlessly engaging. Acker’s performance makes Tully feel like the steady breeze that holds the spirit of the musical, and he dives into the character’s aesthetic with full commitment. He’s the quintessential casual beach guy - flip flops, baggy shorts, feathered hair, and a Hawaiian shirt that looks like it’s logged more sunsets than most vacationers.

Kate McQuillan’s Rachel is a sharp, engaging counterbalance, grounding the story with her focused energy and bright, assured voice. She shines in numbers like “It’s My Job” and “Fins,” bringing humor and heart to a character who could easily be played too straight. Together, Acker and McQuillan create an appealing opposites attract dynamic, especially in their duet “Coast of Marseilles,” where their voices blend with an ease that makes their connection feel genuine.

If Rachel is heading to a coastal destination for work, it makes perfect sense that she’d bring her best friend, Tammy along for the ride. Khaki Pixley’s Tammy is one of the production’s brightest assets, delivering buoyant humor with razor-sharp timing and a sweet, outgoing personality that consistently lifts every scene she enters. Her reactions, comedic beats, expressive voice, and kind presence land so well that her arc quickly becomes one of the show’s most enjoyable threads. When Chase Grabowski’s Brick (local bartender) eventually joins her storyline, his endearing, slightly hapless charm pairs beautifully with Pixley’s energy, giving their subplot an energetic, goofy momentum that often feels more engaging than the central romance.

The humor in Escape to Margaritaville often lands on the simpler side - broad, predictable, and occasionally so contrived that a few jokes slip past without much impact. It’s not unexpected, though. This is a Jukebox musical built from Jimmy Buffett’s sun-drenched catalog, and the story exists mostly as a loose framework for beach living, easy flirtations, and the reminder to stop taking life so seriously. The show rarely aims beyond that, and for many theatergoers, it doesn’t need to. Buffett fans in particular seemed fully dialed in; several audience members chimed in word for word when prompted, and a few even jumped in unprompted, turning certain moments into an impromptu Parrothead sing-along. It’s clear the musical resonates most with those already attuned to Buffett’s drifting tunes. And that connection wasn’t limited to the songs themselves.

And while the music is plentiful, a few musical numbers stand out more than others, especially when the show leans into its unapologetic silliness. “Why Don’t We Get Drunk & Screw” becomes a cheeky ensemble hand off, passed around with just enough sly irreverence to keep the moment playful rather than crude. “Cheeseburger in Paradise” delivers the burst of high spirited, indulgent fun audiences expect, and it also marks a personal breakthrough for Tammy, who finally lets herself enjoy something without the undeserved guilt her controlling fiancé has inflicted upon her. These numbers aren’t subtle, but they’re performed with a knowing grin - and they capture the musical’s willingness to jump into the louder, lighter corners of Buffett’s catalog.

Music Theater Works surrounds its leads with a spirited supporting cast that keeps the wave-easy antics humming. Tamara Batiest’s Marley offers strong vocals, grounded wit and a steady presence at the resort, providing a nice balance to the show’s more free-wheeling characters. Brian James’ J.D. brings an unforced, confident energy whenever he appears, adding texture without pushing beyond what the material calls for. The full ensemble delivers solid work throughout, particularly in the larger song and dance numbers, where their precision and coordination give the production some of its cleanest moments. Together, they help shape a world that feels carefree, lightly free-flowing, and appropriately tuned to Margaritaville’s unhurried atmosphere.

(center) Khaki Pixley with members of the cast in JIMMY BUFFETT’S ESCAPE TO MARGARITAVILLE from Music Theater Works.

Bob Knuth’s scenic design instantly drops the audience into a daylight‑washed island resort, complete with weathered wood, bright, beach‑toned colors, and the kind of relaxed bar setup that practically begs for a frozen drink. It’s the classic Margaritaville environment: part seaside hangout, part vacation fantasy, and just spirited enough to feel genuinely alive. Ab Rieve adds personality throughout with props that make the space feel lived‑in - cocktail blenders, beach gear, and all the little touches that sell the idea of a resort where anything can (and usually does) happen. Clare McKellaston’s costumes keep the surf-side energy high, dressing the cast in vibrant prints, light‑spirited resort wear, and vacation‑ready looks that pop under the lights, while Kristen Brinati ensures every wardrobe detail stays crisp from scene to scene. I truly enjoyed the set, which effectively transported the audience into the moment and grounded the shore-soft atmosphere. The production team does a fine job in building a getaway that feels like a ticketed trip to paradise.

October in Chicago has a way of nudging everyone indoors - gray skies, damp sidewalks, and that first hint of winter settling in. All the more reason to duck into a theater and spend a couple of hours somewhere warmer, brighter, and blissfully carefree. Escape to Margaritaville offers exactly that: a coastal reset button when the city insists on being chilly and unpredictable.

When Escape to Margaritaville made its pre-Broadway stop at the Oriental Theatre in 2018, I was tucked into a rear seat when a persistent glow kept flickering to my right. Someone was typing away on their phone mid show, pausing every so often to chat with the person beside him like he was running a private commentary track. After a few minutes, I leaned over and politely asked if he wouldn’t mind putting his phone away. He looked up, and I told him I was reviewing the show for Jimmy Buffett. Without missing a beat, he smiled and said, “I am Jimmy Buffett.” He was taking notes, whispering observations, and generally behaving like a man watching his own musical while conducting field research. Only Jimmy Buffett could turn mid-show multitasking into part of the entertainment.

He laughed, I laughed, and he explained he was jotting down notes on the show and the audience’s reactions. After the curtain call, we chatted, and in true Buffett fashion, he casually invited me to the post‑performance reception. It was the kind of easy, friendly gesture one wouldn’t necessarily expect from a major star - unless it was Jimmy Buffett. Jimmy was actually a little shy surrounded by his Parrotheads at the packed, island‑themed afterparty, until I invited him to join the celebration and led him by the hand into a circle of fans dancing to “Cheeseburger in Paradise.” He danced for some time, and while doing so, he beamed at me from the center of that exuberant moment, delighted in a way that felt almost childlike.

I didn’t realize at the time how much that passing exchange would matter. After his passing in 2023, I smiled to myself at the memory of how touching and important our chance encounter in the back of his theater premier really was. 

In staging Escape to Margaritaville, Music Theater Works pays genuine tribute to Jimmy Buffett’s legacy, channeling the warmth, playfulness, and island‑spirited generosity that defined both his music and the man himself. At two hours and twenty minutes (including intermission), the Buffett musical is a light, good-natured escape that provides an unruffled evening - an inviting couple of hours of coastal fun.  

Recommended.

Escape to Margaritaville runs through November 1^st at North Shore Center for the Performing Arts. For tickets and/or more show information, click here.

Chicago Shakespeare Theater’s production of The Winter’s Tale delivers a compelling evening of theater, showcasing an exceptional company of actors working at the top of their craft. Under the direction of Artistic Director Edward Hall, this staging marks an exciting experiment for the theater as the troupe performs in repertoire, set to follow this production with A Midsummer Night’s Dream in November. Though The Winter’s Tale remains one of Shakespeare’s lesser-known plays, Hall breathes fresh vitality into the work, framing it like a classic fairy tale. Playing a child, Felicia Oduh begins the show opening a picture book in view of a toy ship and a teddy bear, foreshadowing what is to come.

The piece opens with a joyous celebration as King Leontes tries to convince his childhood best friend, King Polixenes, to remain a little longer in his company. But the homesick royal denies every plea, until the beautiful Queen Hermione persuades him to stay. At her success, Leontes is suddenly possessed by jealousy, wondering why her efforts worked. His wild imagination corrodes his sanity quickly, and in no time, he’s envisioned a forbidden affair between his pregnant wife and his most loyal friend. His nobles fail to reel him in, and his madness drives him to forsake everything, even banishing his newborn daughter, only to discover his accusations had no merit. His only hope now rests in a prophecy and the hope that he’ll be reunited with his child one day.

This production thrives as a true ensemble piece, with the majority of the cast adeptly tackling dual roles. Demetrios Troy plays the maddened Leontes with fierce conviction, delivering an inspired portrayal of a ruler’s terrifying mental unraveling. Opposite him, Jessica Dean Turner brings raw emotion to Queen Hermione, grounding her betrayal in a profound, heartbreaking depth. Issy van Randwyck is a force to be reckoned with as Paulina. She commands the stage with a presence capable of calling down fire from heaven or piercing with her witty remarks dipped in uncompromising truth. Providing comedic relief, Kevin Gudahl and Dan Haller share delightful chemistry as the simple-minded shepherd and his son. Later, Sean Fortunato’s turn as the rogue Autolycus provides an absolute audience treat, creating a larger-than-life, hilarious scoundrel infused with a playful rock edge. His playful French accent was especially hilarious.

While the cast excels, the production’s main hurdles stem from the disjointed nature of Shakespeare's text. Act One functions as a powerful, high-stakes drama, illustrating how a poisoned mind can devastate love and life. Act Two, however, pivots sharply, opening with upbeat musical numbers, including a sequence featuring the cast as “baahing” sheep (one even relieves himself on stage). The second half feels in many ways like an extended tangent from the primary plot, as we’re promised a return to Leontes’ court. Still, while it’s a diversion, it is an entertaining one.

Also, no production of The Winter’s Tale would be complete without addressing the play's most famous stage direction, "Exit, pursued by a bear," and Chicago Shakespeare’s iteration does not disappoint. They unleash a creature that is truly the stuff of nightmares.

Despite the script's structural awkwardness, Hall has crafted an enjoyable and emotionally resonant piece of theater powered by artists who elevate every moment. The ensemble brings richness and warmth to these complex characters, capturing the audience’s heart while delivering laughter throughout.

Overall, this presentation stands as another triumph for Chicago Shakespeare Theater, proving that even Shakespeare's lesser-known works can shine brilliantly in the hands of a gifted company.

The Winter's Tale runs until December 12.

https://www.chicagoshakes.com/productions/2627-winters-tale/

The world premiere of The Hanukkah Humbug brings ghosts, history, tradition, and a whole lot of family fun to the Greenhouse Theater Center just in time for the holidays, Melanie Ann Apel promises a lively, family-friendly experience with this new play co-written by Melanie Ann Apel and Hayden Seth Apel.

A Joe & Melanie Thing Theatre Company is proud to announce its production of The Hanukkah Humbug, on stage at the Greenhouse Theater Center, 2257 North Lincoln Avenue, Chicago, 60614, December 3rd to December 6th. Tickets are on sale at www.greenhousetheater.org.  

This production of The Hanukkah Humbug is directed by Melanie Ann Apel and features a cast of Chicago area actors. Set in modern-day Chicago, the kids in Ms. Ben’s class are tired of the same old Christmas stories; they want to hear a story about Hanukkah! Alas, Ms. Ben doesn’t have a Hanukkah story to read to her class. "That's ok," says Rusty, "we can make up our own story, but Jewish!" And so begins a classic tale with a Hanukkah twist.

“We have created a delightful retelling of a classic, featuring the ghosts of Hanukkah past, present, and future; a brief history of the Jewish people; the traditions of Hanukkah; and a healthy dose of Yiddish,” says Director Apel. “We want to share the joyful traditions of Hanukkah with everyone, not just with Jewish families.”

Performance Schedule:

Wednesday, December 2 – 6:30 P.M. – Dress Rehearsal/Press Night

Thursday, December 3 – 6:30 P.M. – Opening Night (December 3)

Friday, December 4 – 6:30 P.M

Saturday, December 5 – 2:30 P.M. & 6:30 P.M.

Sunday, December 6 – 2:30 P.M Tickets: General Admission – $21

About A Joe & Melanie Thing Theatre Company:

We are Chicago-based artists who seek to bring original works to the stage. We are overly dramatic types who cannot resist the call of Muses. Since 2024 we have produced works of satire (Accidental Election of an Anarchist, 2024, and Vulcan Sleeping, 2025), familyfriendly fare (Hanukkah, Shmanukkah! 2025) and drama (Marbled, 2026).

Remy Bumppo opens its 30th anniversary season with Mud Row, a play by Tony Award nominee and MacArthur “Genius” Grant recipient Dominique Morisseau. Expertly directed by Malkia Stampley, this production is a sublime examination of family, inheritance, and the difficult choices that determine what we pass on to the next generation.

Set in Mud Row, a historically Black neighborhood in West Chester, Pennsylvania, the play moves between the early 1960s, during the Civil Rights era, and the contemporary period. The earlier scenes follow sisters Elsie (Alexis Janae) and Frances (Toccara Castleman) as they navigate young adulthood, unaware that the decisions they make will reverberate through generations. In the present-day scenes, granddaughters, Regine (Ayanna Bria Bakari) and Toshi (Tiffany Renee Johnson), must confront the family legacy they have inherited.

Stampley has created a living family album, particularly in the scenes set in the 1960s. We watch Elsie and Frances move through their lives with the innocence of people who cannot yet see the long shadow their choices will cast. They are carrying wounds of their own, shaped by the circumstances in which they grew up. Without necessarily recognizing it, they risk passing that trauma to Elsie's unborn child and, eventually, to their grandchildren.

Morisseau's central question is both intimate and universal: What do we do with the past? Do we escape it, hoping that distance will free us from its burdens, or do we reclaim it, confront its painful truths, and find a way to transform what it means?

The family home becomes the physical embodiment of that question. Scenic designer Sydney Lynne creates a house that seems to possess a life of its own. In the 1960s scenes, it feels inhabited, furnished with the details of a home where people live, argue, dream, and make plans to change the future. In the contemporary scenes, the same space can appear abandoned, almost as if the house itself is yearning for someone to return and breathe life into it.

Yet even when the house is occupied, it never feels entirely free of its ghosts. Stampley makes those unseen presences palpable through breathtaking scene changes. The transitions are more than technical accomplishments; they reinforce the sense that the past is never entirely gone. It lingers in the rooms, in the silences, and in the relationships of those who remain.

The uniformly excellent cast gives Morisseau's dialogue its necessary emotional grounding. Her writing can, in less assured hands, occasionally sound like a discussion panel, with characters articulating ideas about history, race, and family rather than simply living through their circumstances. That is not the case here. These actors make the emotional intensity feel organic. Their conflicts emerge from recognizable human needs: the desire to belong, the longing to escape, the fear of repeating a parent's mistakes, and the hope that life might offer another chance.

Jabari Khaliq as Tyriek and Jamaque Thomas as Davin contribute to the ensemble, while the performances of Janae, Castleman, Johnson, and Bakari give the family history its emotional continuity. The younger women are not simply repeating the lives of those who came before them; they are struggling to determine what their inheritance means and whether they must remain bound by it. The emotional weight of that struggle comes into sharp focus in a second-act scene between Toshi and Regine that brought me to tears.

Levi Wilkins' lighting design deepens the atmosphere, while Evelyn Danner's costumes establish the distinct periods without distracting from the characters. Christopher Kriz's original musical composition and sound design help sustain the production's sense of memory, place, and time.

Morisseau examines two generations separated by decades but connected by patterns of family behavior, unspoken pain, and the consequences of choices made long before the next generation was born. The earlier generation belongs to the Silent Generation; the contemporary characters reflect a different set of expectations and possibilities. The contrast underscores how the world changes while certain family wounds remain stubbornly familiar.

But Mud Row is not simply a lament about the persistence of trauma. Its deeper concern is whether that inheritance can be interrupted. History may explain the circumstances in which people find themselves, but it does not have to dictate every choice they make. Somewhere in the cycle, a child—or an adult who finally recognizes the pattern—must be willing to say that things can be different.

That possibility gives the play its emotional force. The past cannot be erased, and neither can the damage it leaves behind. But understanding where the pain began may be the first step toward refusing to pass it along.

With this production, Remy Bumppo offers more than a beautifully staged family drama. Mud Row becomes a house of memories, inhabited by the living and haunted by the choices of the dead. Stampley's sensitive direction and the cast's compelling performances make those ghosts feel immediate, reminding us that every family inherits a history—but no family is necessarily doomed to repeat it.

HIGHLY RECOMMENDED

When: Through Nov. 15

Where: Theater Wit 1229 W. Belmont Avenue

Tickets: $38 - $54

https://www.remybumppo.org