Displaying items by tag: Alice Wu

Chicago’s First Floor Theater today announced the cast and production team for the Chicago Premiere production of WORK HARD HAVE FUN MAKE HISTORY, written by reid tang and directed by Tina El Gamal, running May  7 – June 6, 2026 (previews May 7, 9, 10, and 13) on The Schwartz Stage at Raven Theatre, 6157 N. Clark St. Tickets ($10 – $40) available at www.firstfloortheater.com. 

Originally developed through Clubbed Thumb’s Summerworks Festival, WORK HARD HAVE FUN MAKE HISTORY is an experimental dark comedy that explores chaos, alienation, and the absurdities of modern capitalism. Framed as “a catalog of all the possible phone calls that exist,” the play, which is “not about Amazon, not about Jeff Bezos, and certainly not about Elon Musk,” unfolds through surreal encounters and fractured conversations, creating a genre-bending theatrical experience that blends humor, technology, and existential dread. 

“WORK HARD HAVE FUN MAKE HISTORY sits right at the center of First Floor Theater’s mission,” said Andrew Cutler, Artistic Producer of First Floor Theater. “It’s hilarious, dark, and incisive, and it invites the kind of bold theatrical choices our artists love to make. Presenting the production at Raven Theatre also gives us the chance to introduce our work to a new neighborhood and new audiences in Chicago.”

“I’m always drawn to plays that are ‘out there’ - a little scary and untouchable, wacky and daring,” said Tina El Gamal, director of WORK HARD HAVE FUN MAKE HISTORY. “reid tang’s bird’s-eye view of humanity’s struggle to stay human is exactly that. It grapples with the costs of innovation and consumption as they threaten to outpace our humanity and asks, just how far are we willing to go to keep up with the next-day deliveries? It’s funny, unsettling, and unexpectedly moving–exactly the kind of work I want to make with this incredible team.”

The cast includes Sahar Dika, Jenn Geiger, and Alice Wu, with understudies Joelle Denhof, Kennedy Frazier, and Maliha Sayed.

The production team is led by director Tina El Gamal and includes Conchita Avitia* (Lighting Designer), Spencer Donovan* (Scenic Designer), Adelina Feldman-Schultz (Casting Director), Olivia Gregorich (Assistant Director & Dramaturg), Samantha Kaufman (Violence & Intimacy Director), Kendyl Meyer* (Stage Manager), Lo Ramos (Props Designer), Jae Robinson (Sound Designer), and Nathan Rohrer (Costume Designer)

* Denotes First Floor Theater Company Member

First Floor Theater’s Chicago premiere of WORK HARD HAVE FUN MAKE HISTORY runs May 7 – June 6, 2026, with previews May 7, 9, 10, and 13. Performances are held Thursdays, Fridays, and Saturdays at 7:30 p.m., and Sundays at 3:00 p.m. at The Schwartz Stage at Raven Theatre, 6157 N. Clark St. Tickets range from $10 – $40. To purchase tickets, visit www.firstfloortheater.com. 

WORK HARD HAVE FUN MAKE HISTORY

Written By: reid tang

Directed By: Tina El Gamal

Cast: Sahar Dika, Jenn Geiger, and Alice Wu, with understudies Joelle Denhof, Kennedy Frazier, and Maliha Sayed

Production Team: Conchita Avitia* (Lighting Designer), Spencer Donovan* (Scenic Designer), Adelina Feldman-Schultz (Casting Director), Olivia Gregorich (Assistant Director & Dramaturg), Samantha Kaufman (Violence & Intimacy Director), Kendyl Meyer* (Stage Manager), Lo Ramos (Props Designer), Jae Robinson (Sound Designer), and Nathan Rohrer (Costume Designer)

*Denotes First Floor Theater Company Member

Dates: May 7 – June 6, 2026 (Previews May 7, 9, 10, 13)

Schedule: Thursdays, Fridays, and Saturdays at 7:30 p.m.; Sundays at 3 p.m.

Run Time: 90 minutes

Location: The Schwartz Stage at Raven Theatre (6157 N. Clark St., Chicago)

Tickets: General Admission: $10 - $40

Limited number of $10 access tickets available for all public performances.

Box Office: https://www.firstfloortheater.com

Jojo Jones’ “Veal,” premiering at A Red Orchid Theatre in Old Town, is among the recent wave of plays set in a post-apocalyptic near future - the better to show how core social values and structures might play out for individuals placed abruptly in a clean-slate setting. The increasing frequency with which this plot line appears on stages and screens tells us much about the trending thoughts of playwrights, who likely are voicing societal angst about the state of things - and reasonably so.

Directed by dado, the apocalypse in “Veal” is loosely defined but certainly political in nature, a revolution that has reset things. We do know this much: it has resulted in the character Chelsea (well played by Alexandra Chopson) to be installed as Queen of North America. That simple fact packs loads of information: that the U.S., Mexican, and Canadian governments have fallen, their respective Constitutions trashed, and a monarch now rules.

That Queen Chelsea is likely a despotic type is suggested immediately by her regal demeanor in royal array, on a throne, and by her side a servant, Unnamed Male Concubine (Jasper Johnson) who sits silently a step below. When Chelsea descends from her throne to walk upon the floor below her, the silent Concubine unbidden gets on his hands and knees, and with infinite care wipes up the floor where Chelsea has trodden, then resumes his vigil on the step below.

Soon enough three characters arrive: Franny (Jojo Brown), Lulu (Carmia Imani) and Noa (Alice Wu), all of whom were in middle school with Chelsea 13 years ago. In fact, we learn, this setting is the very middle school they attended, a place this monarch has chosen as the site for her palace. She has resurfaced the floor with imported marble and demolished the gym.

“My advisers kept telling me to use the White House, but I’d never been there,” Chelsea lets her classmates know, and they all offer obsequities as they converse with her. Their fear and trepidation is palpable as they try to avoid taboo subjects or potentially incite Chelsea's anger.

“The Revolution was weird,” offers Franny, as Chelsea benevolently asks if they are hungry, then orders her Concubine to provide a repast for the visitors. This ends up being Lunchables that are 13 years past their expiration date, still sitting from their school days. This tips us off that Queen Chelsea harbors some resentments from those days.

Gingerly, they decline the food, except for LuLu, who having allowed that she was hungry, is now ordered to eat, and Chelsea shows her tyrannical side. After this set-to subsides, Franny reveals the reason for this visit: to petition the Queen of North America for medicine for her sister and she begins gingerly on her sibling’s behalf. “We all knew you would be successful,” Franny says of their middle school days. “But Queen of North America?!”

After that, a bit more groveling. “The revolution - huge fan - kinda messed up the supply chain,” Franny says, and lets Queen Chelsea know she cannot find insulin for her sister, a Type 1 diabetic, to which Chelsea replies, indirectly, that she is always being asked for things.

“You know, it is so hard. I keep getting people telling me I’m like Nero, or Caligula.” Though the subject of “Veal” is completely absorbing, every now and then I found myself thinking of current events and another despot who rules by whim, and loves to surround himself with sycophants.

As the action advances, Queen Chelsea dispatches the Unknown Male Concubine to look into insulin availability, but signals there will be a price to pay, and the play moves into territory somewhere between “Mean Girls” and “Carrie.” The dramatic tension hinges on whether and how much Queen Chelsea’s former classmates will debase themselves in the hopes of securing the insulin for Franny’s sister. Queen Chelsea forces them to re-enact the classroom scenes in which she suffered their bullying and ostracism. But eventually the trio reaches a limit, each on their own terms, and ultimately Queen Chelsea tires of the game.

The performances are really excellent, especially Alice Wu as Noa, and Jojo Brown, who does the lion's share of the dramatic heavy lifting as Franny. Accolades for the most intriguing character go to Jasper John as the Unknown Male Concubine, a largely silent role with huge stage presence.

“Veal” runs through November 9, 2025 at A Red Orchid Theatre, 1531 N. Wells in Chicago.

If our day-to-day lives were a collective color, it would probably be the color blue. Whether you are feeling blue, have the blues, or are just Blue (Da Ba Dee), it’s the color most closely associated to feelings of sadness, of cold, depression, or loneliness. Not every day is going to be sunshine and rainbows filled with vibrant hues. Some days are just…blue. Personally when I feel blue, sad songs are more poignant, rain is more comforting, and I gravitate towards shows, plays, and movies that make me feel something deeper. Because when I’m blue, I want and need to feel everything. If you want to feel something deeper too, then Time Is A Color And The Color Is Blue now playing at Bramble Arts Loft is just the play for you.

Alice Wu in Time is a Color and the Color is Blue.

Set in an ice cave, Time is a Color and the Color is Blue follows a glaciologist, Whittaker, who becomes trapped in the cave while searching for the oldest known cave paintings. As her team waits out the storm in their lab, her mind begins to spiral, memories and guilt melding and folding in on each other just like pressurized ice thousands of feet below the surface. Trapped and losing oxygen fast, Whittaker must confront how she can ask forgiveness—from the Earth, from the ice cave, from loved ones she's hurt, and from herself.

 From the moment you enter the small black box theatre within Bramble Arts Loft, you are completely immersed in the cold cave with Whittaker. Surrounded by blue ice, cut off from the outside world, you immediately feel the sense of unease and brace yourself for what is to come. Will she make it out? What drove her to be there in the first place? What must she confront in herself and in the cave? What unfolds throughout the 75-minute play is an expertly crafted story by playwright Melanie Coffey. The pressure, isolation, and loneliness Whittaker experiences within the cave is a shared experience with the audience. Like the ancient ice that surrounds her, Whittaker feels the pressure to confront her reality while reconciling with her past. Alice Wu’s portrayal of Whittaker brings humor and depth to her character, pulling you into the blue. “Time is a Color and the Color is Blue weaves a story of guilt and love and ice that breaks the surface and snaps as it comes up for air,” says Coffey. The play is neither boastful nor damning though it easily could be. Rather than shaming the audience or the characters, Coffey connects us through connection; to loved ones, time, history, and the natural world. It’s connection that will save us, in more ways than one.

Harper McCoy, Alice Wu, Stephanie Fongheiser, Sabine Wan and Mary Mikva in Time is a Color and the Color is Blue.

Did you know that blue ice is created under pressure.? When snow falls and becomes compressed to glaciers it squeezes air bubbles and enlarges ice crystals, the effect resulting in its signature blue hue. A beautiful thing created under pressure. Blue isn’t just the color of sadness and loneliness, it’s calming, soothing, and tranquil. When our days become overwhelming and we feel the weight and pressures of the world we retreat into our own caves. But in those caves of our own making we can channel the calming, reflective nature of blue. Like Whittaker, we can allow ourselves to pause, reflect, and release. To find connection to our world and ourselves. If and when you are feeling blue, be sad and take the time to pause and reflect. If you choose to venture out of that cave, consider taking a stroll in Andersonville to see a play that will make you feel all the feels and maybe, just maybe, not so blue.

Time is a Color and the Color is Blue is now playing through May 24th at the Bramble Arts Loft, 5545 N. Clark Street. For more information and to purchase tickets, visit avalanchetheatre.com/time-is-a-color.

*This review is also featured on https://www.theatreinchicago.com/!