Displaying items by tag: Admissions

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

Black Cypress Bayou

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

Through March 15^th.  TICKETS

Admissions

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

Through March 15^th.  TICKETS

The Lower Depths

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

Through March 8^th.  TICKETS

Why See Them Now?

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

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

What do you do when something in life, an unforeseen occurrence, challenges what you thought was one of your most deeply held beliefs?  What direction do you take if adhering to your convictions could mean sacrificing something exceedingly dear to you?  Do you follow your moral compass or choose the personally expedient? These are the kinds of questions that drive Admissions, Joshua Harmon’s brilliant and piercing 2018 play fresh in its run at Citadel Theatre Company in Lake Forest.  Teasing out the answers to this dilemma makes for some of the best theater you’ll likely find anywhere in the metropolitan area right now.

It takes shape in a place where most of us have little knowledge, an elite private high school on the east coast. This one is named Hillcrest.  Sherri Rosen-Mason (Susie Steinmeyer) has been the Admissions director there for years and throughout her tenure; promoting diversity in the student body has been as much a passion for her as it is a mission.  Every incremental percentage increase in minority enrollment is met with euphoric elation.

Sherri’s husband, Bill (Tim Walsh) leads the school as its headmaster. They have a son, Charlie (Justin Jarzombek), who’s finishing his senior year there.  Highly successful and proudly liberal, Sherri and her husband are more than aware of their privilege in society and are anxious for others with fewer advantages to share in the bounty they enjoy.

The timeframe is just a mere ten years ago when, despite its many vocal detractors, diversity was increasingly the law of the land and becoming enshrined in our institutions.  Because it doesn’t impact them directly or personally, many Americans still respond ambivalently toward the change and view it simply as a manifestation of cultural evolution.  Much like Roberta (Elaine Carlson), Sherri’s Development officer who designs the school’s promotional materials.  She tolerates it or may even support diversity as a principle; but it has no real bearing on her own life.

Aptly directed by Beth Wolf, that perceptual imbalance between Sherri and Roberta provide the foundation for frequent incisive and wonderfully humorous scenes that take place whenever the two women sit down to review the promotional catalogs being sent to prospective students. Roberta doesn’t really understand why she must include more pictures of Black students in the recruitment material.   When Sherri asks her why a Black student would want to come to a school if they didn’t see anybody who looks like them in that school’s brochures, Roberta invariably gives a dismayed pout before moving into defensive dismissiveness.  Echoing the kind of language you’d expect of a person who never felt the drag of race as a weight, her outlook on the subject could easily be thought cavalier.   Full of genteel spunk, and propelled by the boldness of Joshua Harmon’s writing, Carlson in her role of Roberta is as illuminating as a powerful lighthouse.  Exposing this rarely viewed profile of a recessed but likely prevalent national mindset makes her character boundlessly fascinating.  And Carlson fills it with laudatory panache.

Something very similar happens when we learn more about Sherri’s son, Charlie.  Elite private high schools, wherever they’re located, know their purpose.  To help pave the way to assured success.  Excelling in academics, sports and his sundry other interests, Charlie appears destined for a life very similar to his parents.   Both he and his best friend, Perry, the bi-racial son of a professor at the school who’s also a super-achiever, have their eyes on Yale.

Although very close in their achievements, Charlie edges out Perry ever so slightly overall.  But it’s Perry, a person we never see on stage, who’ll get to claim the bulldog, Handsome Dan, as his school mascot next Fall.  Charlie receives a beautifully crafted rejection letter. That’s when the stuff of the nightly news becomes real for the Mason family.  

It’s not unusual for disappointment to induce rage. In a Homeric monologue, one that’s as eloquent as it is tremendously edifying, Charlie unleashes the hurt and angst of a generation who feel as if they’ve been placed on an altar of sacrifice.  A generation of white boys and young men who believe their futures are being used to pay for the past misdeeds of a nation.  Jarzombek delivers it splendidly, pushing it deftly down into the souls of a rapt audience and receiving an immediate and enthusiastic ovation for his efforts.

Just as compelling is its counterpoint, embodied in Ginnie, Perry’s white mom.  Hers is another voice seldom heard on the dramatic stage, that of white woman raising a black child.  Played with lovely craftsmanship by Tina Shelly, she’s angered as well as hurt when she gleans people she considers her friends, people who know her son’s abilities, believe the primary reason Perry was accepted into Yale is his color.   

One of the wonderful things about exceptional writing is that you know not to expect conventional, easily anticipated endings. And there certainly isn’t anything like that here.  It’s the way things resolve that you luxuriate in.  Like the way Charlie rises and demands an equal voice in shaping his future.  And then see where that takes him. Or how Ginnie rejects equanimity to embrace passion and stands her ground; never vacillating in her defense and championing the primacy of her family.  Shedding giddy to proudly wrap herself in armor. 

As delightful as the rest of the cast, Steinmeyer as Sherri and Walsh as her stalwart other half gleamed like fine gems as played a married couple who knew how to push and challenge each other with both true force and real respect.  What they don’t do is also very telling.  Which makes Admissions the kind of story your mind might return to when you find yourself, someone you know or even a country, thrashing through a moral conundrum.

Admissions

Through March 15, 2026

Citadel Theatre Company

300 S. Waukegan Road

Lake Forest, IL   60045

For more information and tickets:  https://www.citadeltheatre.org/admissions

Highly Recommended

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

As America watches a college admissions scandal unfold in the headlines, Theatre Wit opens a revival of Joshua Harmon's early 2018 play, "Admissions". First produced at the Lincoln Center last winter, Harmon's play was definitely on to something broiling in suburban American life. This remount was announced long before the current events rendering this new work very relevant. Directed by Jeremy Wechsler, this production is another installment in Theatre Wit's original programing. 

Sherri (Meighan Gerachis) is a middle-aged prep school admissions counselor. It's her job and personal mission to increase diversity at the upper middle class school. She prides herself on increasing the quota to 20% non-white students. When her own son is rejected from Yale and his mixed-race best friend is accepted, things get tense for this family. 

"Admissions" is a one-act play that dissects the various identity politics even those on the same side can find themselves playing into. Sherri's son Charlie (Kyle Curry) has a lengthy, if not sort of racist, rant that truly poses some interesting questions about the origins of what we consider race today. And as any mother with a concern for her child's future, Sherri starts to examine her own hypocrisy for being angry about her son's rejection. The irony of Sherri's motivations underscore that college admissions are nearly as important to parents as their students. 
One of Harmon's intentional quirks in the script is that the entirely white cast is having this intense discussion about race. Characters of color are eluded to but never featured on stage. It's a good allegory for some of these complicated debates "woke" white people have among themselves. It makes you wonder about the sincerity of our so-called wokeness. 

Performances make this production stand out. The play opens on a hilarious scene between Sherri and her co-worker Roberta played by Judi Schindler. The naivete with which Schindler approaches the dialogue completely captures the way older Americans think about race, a sort of what's-the-big-deal-? attitude. Gerachis turns in a very relatable performance. She seems to know this character well and is rarely concerned with audience likeability versus getting to the truth in this well-meaning but complicated character. 

"Admissions" is a topical look at what's at stake for today's youth. On one hand we have a cultural cynicism about higher education but on the other we understand its value in our economy. As we look at the current scandal, we ask ourselves why the already advantaged need more advantage for their future. Giving extra privilege to the privileged effectively reduces the amount of seats at the table of prosperity. Harmon also understands the pressure today's teens face from an early age to succeed at any cost. This is more than a play about college but rather a play about what we take for granted. 

Through May 12 at Theatre Wit. 1229 W Belmont Ave. 773-975-8150