Displaying items by tag: LGBT

There are no shortage of stories to be told in Chicago. Whether you’re visiting a museum, riding the L, or simply sitting on a lakeshore bench, you can find a story in every person you encounter, every landmark you see, even the very ground holds stories in Chicago. For every singular story there is a theatre, a center, or a space that offers a stage to allow those voices to be heard in nearly every neighborhood from prime downtown real estate to a small garden space. Whatever the stage, voices are given a platform and stories are shared. It is only for us to sit for a moment and listen to the stories, lest they never be told, or forgotten to time. That’s exactly what Jerker, Or The Helping Hand aims to do before it wraps on November 8^th at the Open Space Arts.

L-R: Joshua Bowen, Jason Bowen. Photos by Jeremy Lawson Photography.

Jerker, Or The Helping Hand is a pornographic elegy with redeeming social value and a hymn to the queer men of San Francisco in twenty telephone calls…many of them dirty. Set against the backdrop of San Francisco in the 80s, the intimate and minimalist set puts you right in the middle of a quick and steamy sex call. The two men lay in their respective beds, one hand holding their long landlines, the other holding their long…well, you can imagine. Over the course of the phone calls we learn about the context they find themselves in, their world slowly forming around them with each reference of the character’s flirty banter. Flirtation leads to vulnerability, vulnerability leads to friendship, and something deeper is being connected through the tangled red telephone cords, more than just casual sex. These men can’t truly be who they are, for fear of ridicule and a virus that terrified and decimated a community. They long to be seen, to be cared for and looked after, and most importantly safe from the ignorance and illnesses that plagued their friends and chosen families.

The story unfolds carefully. It is not preachy or presumptuous. It assumes the audience and viewers know enough about the aids epidemic and statistics to linger on the topic for too long. It was also so unknown during the period of time the play is set in. Jerker, Or The Helping Hand focuses instead on two men looking to play, release, and connect on a different level. It gives a voice to those voices lost to a time that is slipping further away; decades whittled down to facts and statistics. We hear from voices that unless we sit and listen risk being lost beneath the weight of something that was more than 40 years ago.

JR Solo: Joshua Bowen

Robert Chesley's Jerker, Or The Helping Hand is one piece of the four-play series ‘Before We Are History" now playing at the Open Space Arts Center. The curated and selected pieces spotlight early queer voices and aids-era works. Together, the plays offer a journey through a history that must never be forgotten. “Our hope is that we leave these performances with a deeper understanding of what the world lost,” says Artistic Director David Zak, “what survived, and what we still have the power to discover, preserve, and create together.” Contrary to what I tell myself, the 80s weren’t 20 years ago. Entire youthful generations haven’t grown up in the shadow of a virus that was once a death sentence. Though they’ll learn of the era it will be like more history books, clinical facts on a page. Though stories have been written there are thousands that have not. Open Space Arts shines a light on those voices in this beautifully curated series. It’s those voices, those stories, that truly make Chicago theatre what is it.

Jerker, Or The Helping Hand is performing a limited run through November 8, at the Open Space Arts theatre in Uptown (1411 W Wilson Ave., Chicago).Tickets are available at https://openspacearts.org/ Be sure to see it before 20 years turns into 40 years and 40 years turns into history.

Hell in a Handbag Productions is thrilled to announce its 25th Anniversary Season, featuring three "camptacular" shows guaranteed to delight lovers of their signature theater style. For a quarter-century, Handbag has served Chicago audiences its unique brand of camp and ridiculousness – earning a fiercely dedicated following and a recent induction into the 2026 Chicago LGBT+ Hall of Fame. Season subscriptions on are on sale here.

Hell in a Handbag opens its 2026-27 Season this holiday season with the world premiere of Artistic Director David Cerda's* It's a Horrible Life – A Golden Girls Lost Episodes Musical Parody, the first musical installment in the company's long-running Golden Girls: The Lost Episodes parody series. Following a string of holiday mishaps and a disastrous audition for the Miami Senior Center's production of It's a Wonderful Life, Dorothy (David Cerda*) begins to question her very existence. An angel intervenes, revealing that her roommates wouldn't last 20-minutes without her.

Directed by Ryan Kennedy, the cast also includes Kelly Bolton*, Grant Drager*, Ed Jones*, Scott Sawa*, Britain Shutters, Danne W. Taylor* and Honey West. It's a Horrible Life will be presented at Theater Wit, 1229 W. Belmont Ave. in Chicago. Single tickets are on now on sale here.

The season continues this winter with the return of the Handbag favorite Caged Dames, Artistic Director David Cerda's* musical parody inspired by the women's prison films of the '40s and '50s, particularly Caged starring Eleanor Parker. Originally produced in 2006, Caged Dames tells the story of Mary Parker, an innocent young woman who, through a series of unfortunate events, lands in the big house – the Calumet City, Illinois Women's Penitentiary – and learns all about the cold hard facts of life – the hard way. Caged Dames will also be presented at Theater Wit.

The final show of Handbag's 25^th Anniversary Season is out of this world (see what we did there?) Next summer, Handbag is proud to present the Chicago premiere of KHAN!!! The Musical! (A Parody Trek-tacular) featuring music, lyrics and book by Brent Black and co-conceived by Alina Roth.

This funny and clever parody/love letter is based on Star Trek II: The Wrath of Khan and Star Trek: The Next Generation with an entirely original score. The beauty of the show is that it's fun for Trekkies, Broadway fans and "normies" alike – and you don't have to know anything about Star Trek to enjoy it! This spaced-out summer romp will be staged at The Clutch, Handbag's intimate boutique space at 4335 N. Western Ave. in Chicago.

Handbag will also continue to present readings and entertainment throughout the season celebrating 25 years of absurdity,

Hell in a Handbag Artistic Director and Co-Founder David Cerda* comments, "I suppose 25 years is a long time for a theatre company. Some days it feels that way. Sometimes it feels like it was just yesterday. I'm proud of what we have done as a company and will continue to create art until I get that damn McArthur Genius Award. I want this season to celebrate who we are and continue to bring joy to people."

*Denotes Handbag ensemble member

Hell in a Handbag's 25th Anniversary Season:

December 3, 2026 – January 4, 2027

It's a Horrible Life – A Golden Girls Lost Episodes Musical Parody

By Artistic Director David Cerda*

Directed by Ryan Kennedy

Featuring Kelly Bolton*, David Cerda*, Grant Drager*, Ed Jones*, Scott Sawa*, Britain Shutters, Danne W. Taylor* and Honey West

at Theater Wit, 1229 W. Belmont Ave., Chicago. Tickets now on sale here.

February 11 – 28, 2027

Caged Dames

Book and Music by Artistic Director David Cerda

at Theater Wit, 1229 W. Belmont Ave., Chicago

August 7 – September 19, 2027

KHAN!!! The Musical! (A Parody Trek-Tacular)

Music, Lyrics and Book by Brent Black

Co-Conceived by Alina Roth

at The Clutch, 4335 N. Western Ave., Chicago

About Hell in a Handbag Productions

Hell in a Handbag is dedicated to the preservation, exploration, and celebration of works ingrained in the realm of popular culture via theatrical productions through parody, music and homage. Handbag is a 501(c)(3) Not for Profit. For additional information, visit handbagproductions.org.

When the sun plays peek-a-boo and a pre-winter chill settles over Chicagoland, locals inevitably look for ways to warm their hearts as well as their fingers and toes. It’s during this time of year that locals venture indoors and when the Chicago theatre scene offers respite from the bitter cold. Like a favorite holiday treat, there are dozens of choices available to seekers of light and warmth, from recurring favorites and classic retellings to original plays and immersive theatre. There is no better way to celebrate the season and to lighten spirits than a good hearty laugh, or two, or three, or so many your sides hurt the next day. You’ll find no better way of warming up this December than seeing the deliciously dirty fairytale that is Rapornzel now playing at the Hoover-Leppen Theatre.

Rapornzel (yes, you read that right, it is not a typo) is a panto-style reimagining of the classic fairytale of Rapunzel. Many years ago, the King and Queen of a far-off kingdom were blessed with a baby girl with long, magical, downstairs hair. One day, the jealous witch Mother F**ker kidnapped the child and locked her in a tower, selfishly squandering her merkin magic for herself. With the help of local hairdresser Dame Fanny Follicle, her thick-as-s**t son Pascal, the dashing Prince Ride-her, and the Hairy Fairy, will Rapornzel ever come out?

If you couldn’t glean it from the title, Rapornzel is a serious-unserious play. Serious in the fact that the cast and crew put on a spellbinding, side-splitting comedic performance, but unserious to ensure the audience was able to escape the bitter cold reality for a few short hours and simply enjoy a hilarious performance. The story is written in the pantomime style or “panto.” Panto is a theatrical performance style dating back to the 1700s, traditionally performed around Christmas time. The popular form incorporates song and dance, exaggeration, and fourth wall breaks to tell a story. It often interchanges slapstick puns heavy with innuendos and groan-worthy dad-jokes to break the monotony of traditional theatre. Critical to the success of these comedic shows is audience participation. It’s highly encouraged to react and respond to the actors on stage, think “booing” the villain, “cheering” the hero, and responsive questioning from the actors such as: “Chicago is so cold…” to which the audience responds: “How cold is it?” wherein the actors then deliver a witty or punny joke in the tale that may or may not make you laugh, guffaw, or simply groan at how bad it is (in a good way). Panto is not for everyone, nor are puns or dad jokes, but in the Vonnegut style approach of moving the story along, it’s difficult not to enjoy, and even an ostrich chuckle at least once.

But when it comes to Rapornzel, I guarantee you’ll laugh more than once. Rapornzel is what you get if you take a fairytale and remix it with a book of dad-jokes, throw in a general use of 1980s musical bangers, and finish it with the dry wit of 2025. Rapornzel is one of the many bawdy, silly, and immensely entertaining pantomime scripts written by professional performer-writer Tom Whalley. The writer’s works have become a popular holiday season tradition at PrideArts, joining the ranks of Whalley’s other works like Jack Off The Beanstalk, Sleeping with Beauty, and Throbbin Wood. With unimaginable R-rated puns, pop songs, and audience participation, Rapornzel follows a growing holiday tradition within PrideArts. This year’s production is exceptionally acted by Chicago talent like Jeremy Cox, who plays Hairy Fairy Dandruff, Peter Moeller as the local hairdresser Dame Fanny Follicle, and the sexy and incomparable Gina Cioffi as the evil Mother F**ker who kidnaps Rapornzel. For those still tepid about the play or the panto style, don’t worry, the skilled actors utilize their quick wits, improvisation skills, and comedic timing to make this production enjoyable for all, never overstepping where they sense timidity. They read and respond to the audience to both give and get energy to move the story along and draw out a smile from even the most austere theatre goer.

Therein lies the beauty of this type of theatrical play. Whalley’s style of Panto grants permission to the audience to simply lighten up, be silly, and share some laughs. In short, in its seriousness to stage a good production, it masterfully creates a space to be supremely unserious. There aren’t many theatrical stylings that can pull that off these days. 2025 has been wrought with ill humor, tired remakes, and uninspired sequels. It’s refreshing and welcome to see a production that doesn’t take itself too seriously while still representing Chicago theatre, PrideArts, and the theatrical community well. The actors, panto, and Rapornzel itself, beg the attendees to lighten up. It reminds us that we don’t always need to seek hidden meaning between the witty one-liners, and we don’t need to laugh at every joke we’ve heard at countless Thanksgiving tables by distant relatives. We should endeavor to seek out light and warmth as the days grow shorter and the darker nights descend. Rapornzel beckons Chicagoans inside and endeavors to thaw critical hearts this holiday season. It’s a healthy reminder that it’s okay to shout, especially when asked or directed to do so. It’s fine to laugh or simply smile. And it’s encouraged, and I daresay desperately needed, to remember that nothing, including fairy-hairy-overly-share-y-tales, is really that serious. Funny, yes. Serious, no. That in and of itself is a gift.

 Rapornzel is playing for a short while longer through December 14^th at the Hoover-Leppen Theatre in Center on Halsted (3656 N. Halsted, Chicago). Grab your winter jacket and your tickets today, available at www.pridearts.org, and warm up with a few hearty belly laughs guaranteed to shake away your winter blues.

"Life's a god damned laugh riot," writes Mart Crowley in his 1968 play "The Boys in the Band". Windy City Playhouse revives the iconic play under the direction of Carl Menninger. This is the first revival in Chicago in over twenty years. "The Boys in the Band" just ended a successful Tony Awarded run on Broadway in 2018. The film remake produced by Ryan Murphy is scheduled to premiere on Netflix later this year. 

Mart Crowley's play was a pivotal moment for LGBT representation when it opened off-Broadway in the late 60s. A play about five gay men throwing a birthday party for their friend struck a chord with both straight and gay audiences. It was a window into the previously taboo urban gay lifestyle complete with frank sexual references and queer vernacular. Crowley's observations about aging and love cover universal ground that many in their 30s and 40s can relate to. 

Windy City Playhouse's production is an immersive experience. A chic set by William Boles serves as both the seating and the performance space. Patrons are invited to the party snacks and are offered drinks throughout the two-hour show. This quirky touch adds to the fun of the first half of the play. The main character Michael (Jackson Evans) is hosting and one by one he receives his guests and bit by bit their life stories are revealed in searingly funny dialogue. The ensemble cast has great chemistry and the party environment is contagious fun. 

As the drinks flow and Michael's straight college roommate arrives, the play takes a decidedly darker tone. Similar to an Albee play, the witty banter ratchets up to cutting insults. The party is in Harold's (Sam Bell Gutwitz) honor but Michael has other ideas and initiates a demoralizing game. The battle for dominance between the two characters is uneasy and authentic. Gurwitz commands the stage in brief but withering lines. Jackson Evans makes Michael a sympathetic character even as he lobs outdated, racially insensitive insults at Bernhard (Denzel Tsopnang).

Despite 50 years of LGBT progress, the themes of aging, substance abuse and self-acceptance explored by Crowley feel as relevant today as ever. The world is much more accepting now than it was in 1968, but it's because of plays like "The Boys in the Band". Some aspects transcend sexual orientation while others are very specific to gay life. The play serves to humanize what people at the time thought of as perversion. "Boys in the Band" helped further a growing movement that would later open the door for more plays, novels and movies to tell LGBT stories in the mainstream. 

At Windy City Playhouse. 3014 W Irving Park Road. 773-327-3778

*Extended through May 17th!

Scott Bradley is an institution within the Chicago theater community. His quirky, campy musical versions of old horror movies have been sell-out hits around town for years. Which is what makes “Packing” all the more interesting. He instead turns the spotlight on himself. About Face borrows Victory Gardens artistic director Chay Yew to direct Scott Bradley’s one-man confessional.

In “Packing” Bradley moves away from the puppets and classic rock and opens his own life up to a 90-minute journey through the turbulent AIDS-era gay life. First and foremost, this is incredibly brave for someone as well-known as Scott, many colleagues are likely to see About Face’s premiere. Bradley is not afraid to expose every aspect of his life from physical abuse to addiction and failure. That might all sound like a bummer but Bradley’s inviting narrative style is humorous and relatable. And of course, it’s all tied to together with various pop culture influences.

“Packing” is Bradley’s life story, but it’s also the collective legacy of the midwestern gay experience. A reminder of how far the LGBT community has come in the past three decades. Bradley stands alone on a stark stage and begins his story at the age he began to understand he was different. His childhood is rather unhappy, but his delivery makes it seem as if he’s the only who doesn’t know how traumatic his home life was. As he grows up, the story becomes more familiar. The far reaches of the Midwest can be an unaccepting place and that sent many LGBT people to the cities to seek acceptance. Not only acceptance of the LGBT lifestyle, but acceptance of the creative lifestyle.

Bradley’s heartbreaking failures changed the course of his life in ways that few can predict when they’re in the pits of despair. His struggles with drug addiction and alcohol dependence and his explanation for why he turned to substances to quiet the critical voices in his head are all too real. Many people in the LGBT community struggle with substance abuse and non-traditional societal norms can sometimes perpetuate cycles of addiction. His stories aren’t just his stories, they’re all of our stories.

It’s hard to imagine anyone else portraying Scott Bradley but Scott Bradley. His performance style is at times frantic, but always warm and authentic. He takes an audience in his arms and let’s them know that it’s okay to fail. He doesn’t ask an audience for approval, but rather to say if you’re struggling, you’re not alone. Chay Yew helps draw out Bradley’s vulnerability through a variety of pseudo-characters; Bradley at various ages of his life. Yew also designed the set, though sparse, is effective. The pop cultural cannon that inspired Bradley is playfully cast on the floor of the stage rather than the backdrop. An interesting visual twist.

“Packing” is a journey of self-acceptance through an era that was less gay friendly. It’s Scott Bradley exposing his storied life in order to help anyone who finds themselves in the same boat. It’s a theater experience that gives voice to anyone who fled small town roots in order to find themselves.

Through December 7th at About Face theater - Theater Wit. 1229 W Belmont Ave. 773-975-8150

With “HIR” by Taylor Mac, Steppenwolf Theatre continues its legacy of pushing relevant and sometimes uncomfortable topics onto its audiences. Directed by Hallie Gordon, this is the Chicago premiere of Mac’s acclaimed 2015 Off-Broadway hit. This vivid production is sure to unsettle some subscribers, but that’s the point. Mac’s script offers up laughs and lessons and is able to gets its point across without coming off as preachy.

What a treat it is to see ensemble member Amy Morton back on the Steppenwolf stage. Morton is a frequent director at the Steppenwolf but has been scarce since her much-praised performance as Martha in 2010’s “Who’s Afraid of Virginia Woolf?” which transferred to Broadway. Morton plays Page, the mother of a transgender teen, Max (Em Grosland) and recently discharged soldier Isaac (Ty Olwin). She is also caring for her ailing husband (Francis Guinan) who has been incapacitated by a stroke. Page has unusual ideas about politics and lifestyle and is finally able to express herself the way she wants without an oppressive husband and societal restrictions.

Playwright, performer and singer-songwriter Taylor Mac (otherwise known as “judy”) is hot right now. His one-man “24-Decade History of Popular Music” was shortlisted for the 2017 Pulitzer. There’s no one quite like judy. HIR is essentially a fictionalized thesis on gender and politics in America. Guinan’s feeble character represents the fragile white male ego and Morton’s character is the at-times militant voice of the future. That future is without gender, without color, and without boundaries. Page seems to relish in abusing her once violent husband. An apt metaphor. Mac has a great sense of humor about the LGBT community and that shines through, but his script is also dense with a vital cultural insight that suburban audiences need to hear in the age of Trump’s America.

Hallie Gordon’s vision for this show is spectacular. Collette Pollard has created a fitting set for the chaos of this family. Gordon’s cast is top-tier. You can’t do much better than Amy Morton and Francis Guinan. Morton quickly becomes the focal point of the play and displays an overwhelming capacity for physical comedy and emotional honesty. You can’t take your eyes off her. Guinan is extremely brave to tread the boards in nothing more than adult diaper, or even braver, a full-face of clown makeup. Without uttering more than a few intelligible sentences, Guinan turns in a complicated but moving performance. This is likely to be one of the most talked about shows in Chicago, and good for the Steppenwolf for continuing to take risks.

Through August 20 at Steppenwolf Theatre Company. 1650 N Halsted Street. 312-335-3830 www.steppenwolf.org

“Late Company” is the fairly literal title of a new play by Canadian playwright Jordan Tannahill. Presented by COR Theatre, Jessica Fisch directs the regional premiere at Pride Arts Center. The 80-minute play is a response to the uptick in teen suicides triggered by cyberbullying.

“Late Company” takes on the weighty issue of LGBT teen suicide. The play begins with political couple Michael (Paul Fagen) and Debora (Tosha Fowler) setting up for some dinner guests. Over the course of their cryptic conversation, we glean that their son has killed himself and the dinner guests are the parents of the bully they blame for their son’s suicide.

The implausibility of the situation is troubling. It’s hard to imagine that a grieving family would cordially invite over the parents of the bully they blame for the loss of their son. It’s even harder to imagine anyone taking that invitation. What transpires over the course of 80 minutes is a structurally unsound one-liner competition. Some highlights include “you were always more interested in the spin, than the spin cycle.”

This is not a play without heart. This is a play without a clear message. While most of us can generally agree that suicide is a heartbreaking thing to happen to any loved one, this play treats it as nearly incidental. The playwright struggles to flesh out a clear central argument. These characters are rarely having conversations, sometimes they’re just reading letters to each other. Great plays are exchanges of revelatory dialogue in which bigger issues are addressed. “Late Company” stays so specific to its own characters that it rarely acknowledges the outside world.

Tannahill’s play is ambitious and maybe more remarkable in other productions. The storyline is very relevant and has the opportunity to say much more than it does in its current form. There’s a lot to discuss on this topic and plenty of work still to do to prevent teen suicide. The playwright would be wise to dig a little deeper than anger in order to express that moral.

At COR Theatre through July 16th at Pride Arts Center. 4147 N Broadway St