Displaying items by tag: The Den Theatre

The Den Theatre today announced upcoming June 2025 shows at the theatre's Wicker Park stages at 1331 N. Milwaukee Ave., including "Anatomy of Murder" Podcast on June 4; Beth Stelling on June 6–7; IMHO: The Show on June 8; Gabby Bryan on June 12; Grace Helbig: "Let Me Get This Off My Chest" on June 14; Steve Hofstetter on June 15; Leah & Andrew Rudick on June 22; Rob Kazi on June 25; Alex Edelman on June 26; and Melissa Villaseñor on June 27–28. Tickets are now on sale at www.thedentheatre.com or by calling (773) 697-3830. 

"Anatomy of Murder" Podcast

Wednesday, June 4, 2025, at 7:15 p.m.

Tickets: $27 - $50

"Anatomy of Murder" is a weekly true-crime podcast examining homicide cases and the paths to justice for victims. Former New York City homicide prosecutor and host of Investigation Discovery's "True Conviction," Anna-Sigga Nicolazzi, teams up with Emmy Award-winning investigative journalist and former deputy sheriff Scott Weinberger to take listeners behind the scenes for an insider's perspective on compelling cases from around the country. Each episode also features insight from a victim's family member, the prosecutor, or a member of law enforcement directly involved in the investigation.

Beth Stelling

Friday, June 6, 2025 at 7:15 p.m. & 9:30 p.m.

Saturday, June 7, 2025 at 7:15 p.m. & 9:30 p.m.

Tickets: $22 - $40

Beth Stelling is a comedian, writer, and actress based in Los Angeles. Her Netflix special "If You Didn't Want Me Then" topped several "Best of 2023" lists. She also appeared in the first season of Netflix's "The Standups." Conan O'Brien produced Stelling's previous hourlong special, "Girl Daddy," for HBO Max. She has written for television series including "Rick and Morty," "Strange Planet," "The Last O.G.," "I Love You, America with Sarah Silverman," "Another Period," and "Crashing" on HBO. A sought-after punch-up writer for feature films, she worked on Universal's hit "Good Boys" as an on-set writer. Stelling has guest-starred on Amazon's "Red Oaks," Comedy Central's "Corporate," and Peacock's "Rutherford Falls," where she played Ms. Fish. She also co-hosts the podcast "Sweethearts" with her best friend, Mo Welch.

IMHO: The Show

Sunday, June 8, 2025 at 7:15 p.m.

Tickets: $22 - $40

Darby Lynn Cartwright is a [redacted]-year-old drag queen with a heart of gold and arteries her doctors have called "worrisome." She hosts the YouTube series "IMHO: The Show" and the podcast "IMHO: The Podcast" with her best co-worker/acquaintance, Alexis Bevels. She also co-hosts the podcast "Twinnuendo" with her twin brother — spoiler: they are not fans of their dad.

Darby invented the concept of having a couch in front of her TV (she swears), allowing her to lie down while watching K-dramas about falling in love with demons — who are also horses, she thinks? She lives in Los Angeles, near Mark Hamill, and once almost hit him with her car while he was Luke jaywalking (yes, really). He was wearing large 1980s-style radio headphones with an antenna.

Darby has never seen a single "Star Wars" movie because she hates war...and space.

Alexis P. Bevels is a singing, dancing, twirling queen with a head full of air and a heart full of gold. She began her journey in musical theatre but didn't want to play just one part — she wanted to be the lead, director, costume designer and stage manager. Naturally, she became a full-time drag queen.

She lives in Los Angeles at the bottom of a hill, which worries her because...mudslides. When not living in constant fear, she's excited to report she has a boyfriend now — you can Google it. It's true.

You can also find Alexis on the award-winning YouTube series "IMHO: The Show" and the award-not-yet-winning podcast "IMHO: The Podcast." Otherwise, she's probably lying down somewhere, thinking about pogs.

IMHO: Live!

The ladies of IMHO are back in Chicago, gay people and others! Darby and Alexis return with a live show that is sure to make you say, "Oh, okay cool." There will be singing, sort-of dancing, comedy, trauma, and videos YouTube has called "not appropriate."

It's not just Darby and Alexis coming to town either — expect surprise guests from the IMHOCU (IMHO Cinematic Universe)! Also, the ladies promise not to make the show too long because they both have undiagnosed ADHD, so...they get it.

Gabby Bryan

Thursday, June 12, 2025 at 7:15 p.m.

Tickets: $22 - $37

Gabby Bryan is a New York-based stand-up comedian, actress, Emmy Award-winning producer and self-proclaimed girlie girl. This winter, she brought her Fringe hit "Billy and the Situation" to Union Hall, earning praise from The New York Times after a successful run at the Edinburgh Festival Fringe. She appeared alongside Olivia Wilde and Oscar Isaac in the film "Life Itself" (Amazon Prime), starred in the bilingual film "Ruta Viva" (HBO), and was featured in Ilana Glazer's special "Comedy on Earth" (Comedy Central). Bryan co-hosts "L'Podcast" with comedian Zack Signore, as well as "Let Me Ask My Dad" with musician and composer David Bryan. She has performed globally, with shows in London, Dublin, Los Angeles and Boston, and will launch her headlining tour, "Gabby Bryan Is My Best Friend," this fall. Bryan has built a large social media following of more than 270,000, sharing viral stand-up clips and comedy sketches. Follow her @gabbyisbryan on all platforms.

Grace Helbig: "Let Me Get This Off My Chest"

Saturday, June 14, 2025 at 7:15 p.m.

Tickets: $25 - $40

At 37, Grace Helbig was diagnosed with breast cancer — no family history, no pre-existing conditions. Her new show, "Let Me Get This Off My Chest," offers darkly humorous lessons and confessions from her unexpected journey through cancer treatment.

Steve Hofstetter

Sunday, June 15, 2025 at 7:15 p.m.

VIP Front Row Table + Meet & Greet: $150

Tickets: $25 - $55

One of YouTube's most popular comics with more than 225 million views and half a billion more on Facebook, Steve Hofstetter is also the host of "Finding Babe Ruth" on FS1. Hofstetter was the host and executive producer of "Laughs" (FOX) and has appeared on CBS' "The Late Late Show," E! "True Hollywood Story," "Comics Unleashed" and more. He has sold out shows in hundreds of cities and dozens of countries. Now is your chance to find out what the fuss is about during this no-holds-barred stand-up performance, featuring some of his unfiltered observations about life.

Leah & Andrew Rudick

Sunday, June 22, 2025 at 7:15 p.m.

Tickets: $25 - $45

Leah Rudick is an actor, writer and comedian whose viral comedy videos on TikTok and Instagram have amassed more than 1 million followers and counting. Best known for her "Wealthy Woman" character—an oblivious but lovable billionaire who delights in middle-class adventures—Rudick has cultivated a loyal fan base, with her videos topping 100 million views.

Springboarding off that success, she has spent the past year on the road, headlining and selling out top clubs across the country. Her unique brand of "weird girl" comedy has captivated audiences from all walks of life. Recent comedy festivals include Moontower JFL, San Francisco Sketchfest and Laughing Skull Fest.

Her TV appearances include HBO's "High Maintenance," IFC's "Commuters," and "Fast Company with James Corden." In 2024, she released her first one-hour comedy special, Spiraling, available to stream on Amazon and Apple TV.

"Going on flights of anxiety-fueled imagination, Rudick starts from a relative point of relatable normalcy, but simmers her way to as ridiculous a conclusion to a bit as she can conjure... The journey in this hour, richly colored by her unconscious, is akin to tasting your new favorite sweet treats in that you might be unsure what's happening at first, but get obsessed with the longer you savor it."

— The Comedy Bureau on Spiraling

"Stop reading and go follow Leah Rudick and then come right back."

— Vulture

"In a world of income disparity, class divides and rampaging Karens, how the heck did comedian Leah Rudick's TikTok sensation Wealthy Woman become so darn beloved?"

— Cracked

Andrew Rudick is a nationally touring stand-up comedian, writer and actor. One of the fastest-rising comedians in the Midwest, he has been featured on the nationally syndicated Bob and Tom Show. His debut comedy album debuted at the top of the Apple Music charts and can be heard regularly on SiriusXM.

Combining Midwestern charm with high-energy absurdism, Rudick's stand-up is a hit both onstage and across social media. His videos have earned tens of millions of views and more than 100,000 followers across platforms. His relatable energy landed him an appearance on HGTV's Design Fails.

He has performed at prestigious comedy festivals including Limestone Comedy Festival, North Carolina Comedy Festival, Alternating Currents, Whiskey Bear, Let's Fest, Crossroads, Brew HaHa and Devil's Cup Comedy Festival.

Rudick is currently playing to sold-out crowds across the country with his sister Leah on their Rudick Siblings Tour.

He also loves Fleetwood Mac and doesn't care who knows it.

Rob Kazi

Wednesday, June 25, 2025 at 7:15 p.m.

Tickets: $21 - $36

Hailing from New Orleans, Rob Kazi is one of today's most dynamic and talented comedic actors, captivating audiences both online and on stage.

Known for his infectious humor and quick-witted storytelling, Kazi has built an impressive following through his high-energy, short-form comedy content that consistently delivers laughs.

With a natural gift for comedic timing and undeniable charisma, Kazi has transcended the digital realm to find success in stand-up comedy and acting. He made history as the first local New Orleans comedian to headline and sell out the Joy Theater.

His talent doesn't stop there. Kazi performed at the "Super Bold" 50 Cent comedy show for the Super Bowl and joined comedy heavyweights including Mike Epps, Lil Duval and Corey Holcomb on the "We Them Ones" comedy tour. His latest viral sensation, the character "BB Hell," has taken social media by storm, racking up more than 13 million views on Druski's "Coulda Been Records."

Whether he's performing live or creating viral moments online, Rob Kazi never fails to leave his audience in stitches—solidifying his place as a comedic powerhouse and beloved New Orleans icon.

Alex Edelman: Not Just For Us

Thursday, June 26, 2025 at 7:15 p.m.

Tickets: $30 - $40

One of the most critically hailed comedians of his generation, Alex Edelman is best known for solo shows that blur the line between his stand-up comedy roots and narrative-driven storytelling. His most recent offering, "Just for Us," played more than 500 performances around the world before premiering as an HBO original comedy special in April 2024. Along the way, it made award-winning stops in Melbourne, Edinburgh and London, and completed numerous sold-out runs in New York, where Edelman joined a small group of comedians who have performed on Broadway with a three-month stretch at the Hudson Theatre.

He previously won the prestigious Foster's Best Newcomer Prize at the 2014 Edinburgh Fringe Festival for his debut one-man show, "Millennial," becoming only the second American ever to do so—and the first since 1997. In 2024, Edelman received a special Tony Award, was named to the Time 100 list of most influential people, and won an Emmy Award.

Edelman appeared in Jerry Seinfeld's directorial debut for Netflix, "Unfrosted," alongside Seinfeld, Melissa McCarthy, Jim Gaffigan, Amy Schumer, Hugh Grant and others. He is currently developing a film with A24 that he will write, direct and star in, with Marc Platt and Steven Levenson producing. His debut nonfiction collection, "I Don't Belong Here," recently sold to Avid Reader at auction.

Next, Edelman will be seen starring in Greg Daniels' spinoff of "The Office" for Peacock. He also serves as a consulting producer on the show.

Beyond his on-camera work, Edelman was a staff writer on "The Great Indoors" for CBS, a story editor on "Teenage Bounty Hunters" for Netflix, and head writer for "Saturday Night Seder," which raised more than $3.5 million for the CDC COVID-19 Emergency Relief Fund and featured talent such as Andy Cohen, Billy Porter, Dan Levy, Fran Drescher, Idina Menzel, Jason Alexander, Rachel Brosnahan and more.

He has written for outlets including The Atlantic and The Believer, produced documentaries for the U.S. State Department and ESPN's "30 for 30" series, and spent more than a decade working as a speechwriter for both the Los Angeles Dodgers and the Boston Red Sox.

Melissa Villaseñor

Friday, June 27, 2025 at 7:15 p.m.

Saturday, June 28, 2025 at 7:15 p.m. and 9:30 p.m.

Tickets: $22 - $40

Melissa Villaseñor broke barriers as the first-ever Latina cast member of "Saturday Night Live." A comedic impressions expert, she got her start as a semifinalist on "America's Got Talent." Some of her most memorable SNL impressions include Owen Wilson, Lady Gaga and Dolly Parton.

An accomplished voice actor, Villaseñor has voiced characters on several television shows, including Nickelodeon's "OK K.O.!" and "Rock, Paper, Scissors," and in films such as "Toy Story 4" and "Ralph Breaks the Internet." She received a Golden Globe nomination for her work. She was also a guest on Jerry Seinfeld's "Comedians in Cars Getting Coffee" and appeared in "Barry," "Crashing," and "Awkwafina Is Nora From Queens," among others.

Her multihyphenate talents span even further. She hosted the 2021 Independent Spirit Awards, published a self-help journal titled Whoops, I'm Awesome, recorded two music albums, had a Netflix special, and creates fine art.

Villaseñor's accolades include Forbes 30 Under 30, Rolling Stone's 50 Funniest People Right Now and CNN's Women in Comedy.

The Artistic Home Studio will present the 2025 edition of its annual CUT TO THE CHASE festival of new one act plays, from May 1-4, 2025, in the Upstairs Mainstage at the Den Theatre, 1331 N. Milwaukee Avenue. Six plays by six different authors and helmed by six directors will approach questions of perception and reality under the theme "What is Real?" Now in its 22^nd year, the festival has become a Chicago fan favorite, premiering new work from Chicago playwrights as well as well-known talent from across the country.
 
The show runs as one program running approximately 90 minutes in total, with the six plays performed back-to-back, Five of the plays are world premieres and one is a Chicago premiere. The plays are by Nina Dellaria, Jillian Blevins, Siah Berlatsky, Will Dunne, Greg A. Smith, and Chelyn Cousar. They will be directed by Jenna Steege Ramey, Rinska Carrasco-Prestinary, Jared Shelton, Jacob Watson, Risha Tenae, and JJ Gatesman.

The casts are Lynne Baker and Daphne Beckett, Whitney Minarik and David Stobbe, Kendal Romero and Olivia Gregorich, Jared Goudsmit and Dakota Pariset, John Dooley, Ernest Henton, and Jordyn Birden; and Rebecca Zissok and John Wehrman.
 
Tickets for CUT TO THE CHASE 2025 are $22 and are on sale now through The Den Theatre Box Office www.thedentheatre.com.
 
The Artistic Home performs at The Den Theatre and also maintains an acting studio and rehearsal space at 3054 N. Milwaukee Avenue in the Avondale/Logan neighborhood.
 
CUT TO THE CHASE 2025 PLAYS
"Little Women"
by Nina Dellaria
A World Premiere 
Directed by Jenna Steege Ramey
Featuring Lynne Baker and Daphne Beckett
Assistant Director: Annie Hogan
 
"Postpartum"
by Jillian Blevins
A World Premiere
Directed by Rinska Carrasco-Prestinary 
Featuring Whitney Minarik and David Stobbe
With sound composition by Joseph Buechel
 
"The Princess and the Pirate"
by Will Dunne
A World Premiere
Directed by Jared Sheldon
Featuring Kendal Romero and Olivia Gregorich
 
"Psychoanalysis!"
By Siah Berlatsky
A World Premiere
Directed by Jacob Watson
Featuring Jared Goudsmit and Dakota Pariset
 
"Schrödinger's Gun"
by Greg A. Smith
A Chicago Premiere
Directed by Risha Tenae
Featuring John Dooley, Ernest Henton, and Jordyn Birden
 
"Your Host"
by Chelyn Cousar
A World Premiere
Directed by JJ Gatesman
Featuring Rebecca Zissok and John Wehrman

LISTING INFORMATION
 
CUT TO THE CHASE 2025
One-act plays by Nina Dellaria, Jillian Blevins, Siah Berlatsky, Will Dunne, Greg A. Smith, and Chelyn Cousar.
Directed by Jenna Steege Ramey, Rinska Carrasco-Prestinary, Jared Shelton, Jacob Watson, Risha Tenae, and JJ Gatesman.
May 1-4, 2025
Thursday and Friday at 8 pm, Saturday at 5:00 pm and 8:00 pm,  and Sunday at 3:00 pm.
The Den Theatre, Upstairs Mainstage, 1331 N. Milwaukee Ave., Chicago
All seats $22.00
Tickets available now at https://thedentheatre.com/performances/2025/5/1/cut-to-the-chase-the-den-theatre-comedy-club, or by phone at 773-697-3830
More information at www.theartistichome.org
 
A staple of Chicago theater for over two decades, CUT TO THE CHASE presents six new plays as one fun night of theater. This year's show holds the theme: "what is real?" Come see how six playwrights approach questions of perception and reality. With a cast of 13, this year's CUT TO THE CHASE is a perfect taste of dynamic theater in an intimate space.
 
The show runs as one program, with the six plays back-to-back, running approximately 90 minutes. Five are world premieres and one is a Chicago premiere.
 
ABOUT THE ARTISTIC HOME
 
The Artistic Home is noted for their innovative and intimate presentations of rarely produced classics as well for developing new works. During the 2024-25 season, they produced BY THE WAY, MEET VERA STARK by Lynn Nottage and Ibsen's HEDDA GABLER, in a new translation/adaptation by Mark O'Rowe. The company has been frequently honored in the Jeff Awards. In the most recent awards, recognizing productions that opened in 2024, they earned two nominations for BY THE WAY, MEET VERA STARK.  For 2023, they received nine nominations for WITCH and DYING FOR IT, including a nomination for Production of a Play (DYING FOR IT) and a win for Kevin Hagan's scenic design of DYING FOR IT. In 2022, they received nine nominations and two wins – one for New Work (MALAPERT LOVE, written by ensemble member Siah Berlatsky) and one for Supporting Actor in a play (Todd Wojcik – in THE PAVILION). The company's 2022 nominations also included two for Best Play production (MALAPERT LOVE and THE PAVILION). The Artistic Home was one of the big winners in the 2019 Jeff Awards, with four awards including Production of a Play, Director of a Play, Principal Performer in a Play, and Sound Design, all for REQUIEM FOR A HEAVYWEIGHT. Brookelyn Hebert won a Jeff as Principal Performer in a Play for the company's 2020 production of ADA AND THE ENGINE. The company was nominated for Jeff Awards in 2019 for ROCK 'N' ROLL, and in 2018 for HOW I LEARNED TO DRIVE.
 
Other memorable productions of recent years include 2017's WEDDING BAND, BY THE BOG OF CATS and THE SCHOOL FOR LIES; their Jeff-nominated productions of THE SEAGULL, WATCH ON THE RHINE, MACBETH and THE LATE HENRY MOSS; and their 2013 Jeff Award-winner THE GODDESS. Other Artistic Home productions include the Jeff-Award-winning production of JUNO AND THE PAYCOCK, which also received three After Dark Awards, the Jeff-Nominated SWEET BIRD OF YOUTH, THE TALLEST MAN, LANDSCAPE OF THE BODY, NATURAL AFFECTION, FIVE WOMEN WEARING THE SAME DRESS, AFTER THE FALL and PEER GYNT (which also received an After Dark award for Direction).
 
For more than 26 years, The Artistic Home has consistently produced compelling theatre in Chicago. First formed in 1998 with the belief that the actor is at the heart of great theater, the company strives to give birth to unforgettable moments; to touch audiences who are increasingly distanced from human contact; to readdress the classics and explore new works with passion.

‘Hedda Gabler’ has mystified audiences for generations, as this was certainly Ibsen’s intention when creating this endlessly fascinating character. The Artistic Home transforms the Den Theatre into 1890s Norway for their production of Irish playwright Mark O’Rowe’s 2015 adaptation of ‘Hedda Gabler’. Under Monica Payne’s direction, this contemporary-voiced retelling is diabolically humorous.

Any production of ‘Hedda Gabler’ is only as good as their Hedda. In Brookelyn Hebert, Monica Payne has a frighteningly self-assured Hedda who is insatiably fun to watch. Flanked by Todd Wocjik as Jorge Tesman and John Mossman as Judge Brack, Hebert plays both the conqueror and conquered with hot tempered fluidity.

Ibsen, like Chekhov, helped usher in a new era of modern theatre that would inspire 20th century playwrights like Arthur Miller and Eugene O’Neill. With focus on the doldrums of a waning aristocracy, Ibsen captures the everyday hopes and disappointments of his characters in scenes that feel as relevant today as when they were written.

What makes ‘Hedda Gabler’ unique is the myriads of ways a director and an actress can approach the title role. Ibsen’s play is somewhat vague so that audiences and theater makers are free to go with their own interpretation of what motivates Hedda.

In this new version by Mark O’Rowe, many of the Easter eggs Ibsen drops throughout the play are further expanded upon so that audiences have even more context for Hedda’s past and present. In Rowe’s version, Hedda is quicker to anger and more self-aware than in previous iterations. An angrier Hedda shows the brewing hostility of a woman trapped by society, which makes her downfall all the more tragic.

Time seems to fly with O’Rowe’s modern language. Instead of literary innuendo, characters are free to discuss sexuality and substance abuse with more directness. Two and a half hours can feel long for a classic melodrama, but this script has a lot of juicy scene work to keep audiences on the edge of their seat, even if they know what’s going to happen next.

Plays like ‘Hedda Gabler’ do exactly what good plays should, and that is to ask why. As mentioned before, Ibsen purposefully did not provide just one reason for Hedda’s actions, rather he planted many seeds so that nobody can really be sure, opening the door for riveting conversations.

The Artistic Home’s production of ‘Hedda Gabler’ is a good reminder of why classics should be seen every so often. Though the modernized script takes some interesting liberties, and can become a bit meandering in parts, overall Ibsen’s points are well preserved. However, it’s fairly unlikely that high society folks would speak in expletives the way they are in O’Rowe’s script. Still, this production is faithful in its interpretation of the limits of courage. In the end, despite Ibsen’s Easter eggs, this is a play about one woman’s courage to go against the grain of society.

Through March 23 at The Artistic Home at The Den. 1331 N Milwaukee Ave. 773-697-3830

Just as there are many Santa’s around town, this time of year we have a wide selection of Christmas and Holiday-themed shows on stage. While I’ve grown quite jaded about the diminishment of “real” theater during the holidays—steadfastly avoiding the Goodman show each year—there was something that overcame my reluctance in the concept of “Charles Dickens Begrudgingly Performs ‘A Christmas Carol’ Again.”

The darkly charming premise is tantalizing: that Dickens is still alive, and has for 171 consecutive years been annually performing his stage reading of a version of his 19th century book “A Christmas Carol." In fact, as we learn in the course of the show, Dickens did read an adaptation of his book onstage for years. This piece, however, is a remarkably artful riff on Dickens' original, written and performed stunningly well by Blake Montgomery.

This is an actor with chops, a Jefferson Award winner seen over the years on stages at Steppenwolf, Writers and Court Theaters. About 10 years ago Montgomery developed this show, and has given himself a script that is a great showcase of his skills. Walking among the audience before curtain, dispensing candy canes and wearing ridiculous holiday antlers, Montgomery gradually shifts into the Dickensian story.

Speaking candidly of the character of contemporary Christmas Carol shows, including the “large well-known theater downtown” where “snow falls on stage, and Christmas ghosts literally fly,” Montgomery adds dryly. “All I can do is talk.” And with that, Montgomery shifts gradually into the character of Dickens, holding the audience in the palm of his hand.

But Montgomery is also present, all the while, playing moderator. After spending some time somewhat disabusing us of our preconceived notions of what Dickens’ “Christmas Carol” holds, he deconstructs the story, then disarms us, and we are open to hear the story anew. The more opulent productions risk masking the human tale embodied in Dickens’ work. Montgomery reveals more of the internal workings of Scrooge. At times, he allows Dickens to read directly from the text. In other moments Montgomery re-enacts scenes holding up two sides of a dialog. He asks us to examine Scrooge's transformation during the ghostly visits. In one dream-like celebratory Christmas party scene that Scrooge visits in company of a ghost, Montgomery tells us, "The activity is dancing; the action is about what is happening within Scrooge."

In all it’s a remarkable reenvisioning of “A Christmas Carol,” and a work and performance not to be missed this season. “Charles Dickens Begrudgingly Performs ‘A Christmas Carol’ Again” runs through December 22, 2024 at The Den Theatre in Chicago.

“To love the beauty of the mistakes….the imperfect.”  Isis Elizabeth, Playwright

In Beneath The Willow Tree, playwright Isis Elizabeth weaves an emotionally rich tapestry that examines the intricacies of familial bonds, generational trauma, and the delicate interplay between tradition and change. Set in the heart of the Louisiana Bayou, the Bordeaux family home becomes both a sanctuary and a battleground for three Black women whose lives, secrets, and desires come crashing together. Expertly directed by Aaron Reese Boseman, this world premiere delivers a gripping, spiritual family drama that hits deeply personal and universal notes.

At the center of the play is Willow Bordeaux, portrayed with emotional nuance by Sierra Coachman, a young woman who returns home from NYU, bringing more than just academic achievements—she’s accompanied by her lifelong friend  Ree, beautifully brought to life by ASH. She has also brought with her a life she’s building beyond her family’s reach. Willow’s return unearths long-buried family secrets, revealing how trauma, often unspoken, festers beneath the surface. As the audience watches Willow grapple with her past and present identities, her journey becomes emblematic of the broader struggle between old traditions and new ways of being.

The heart of Beneath The Willow Tree is the three generations of Bordeaux women, each dealing with the weight of their histories. Yahdina U-Deen, playing the family matriarch Beatrice Bordeaux , offers a towering performance—her stern exterior masking years of sacrifice, grief, and unspoken pain. Her relationship with her daughter Gloria Bordeaux played with an inner strength by Monique Marshaun,  is fraught, tinged with tension but layered with a palpable sense of love and obligation on both sides. Boseman’s direction ensures that the tension never veers into melodrama; instead, it simmers, allowing the emotional stakes to rise naturally, leading to moments of catharsis that feel earned rather than forced.

Also delivering excellent performances are Dylan Rogers, who skillfully portrays both Moses Bordeaux, the loving and enigmatic patriarch of the Bordeaux family, and Dante Ri’chard, Willow's charming and complex love interest. Rogers deftly navigates the dual roles, bringing a commanding presence to Moses while offering vulnerability as Dante. Mayiyah Brown also shines as young Gloria, capturing the innocence and intensity of the family’s earlier struggles with grace and authenticity. Special mention must be given to dialect coach Susan Gosdick, whose meticulous work ensured that the accents were pitch-perfect, seamlessly shifting from generation to generation, adding depth and authenticity to the play's rich Louisiana setting.

The Bayou setting is not just a backdrop; it is a living, breathing presence in the play. The willow tree itself becomes a symbol of both the Bordeaux family’s resilience and the weight of their past. Set design by Kevin Rolfs captures the mystical and haunting atmosphere of the Bayou, with sprawling branches casting long shadows that seem to stretch into the characters' souls. Adding to this immersive environment is Levi Watkins' lighting design, which subtly enhances the eerie and ethereal quality of the Bayou, playing with shadows and light to deepen the mood. Ethan Korvne's soundscape interweaves seamlessly, with whispers of the wind and the distant echoes of ancestral spirits by way of bass and percussion enriching  the play’s spiritual elements, grounding the story in both realism and mysticism.

One of the play’s strongest elements is its exploration of Black womanhood across generations. The conflicts between the Bordeaux women reflect broader themes of identity, legacy, and healing, resonating particularly in today’s world, where conversations about generational trauma and reclamation of self are becoming more prominent. Elizabeth’s writing doesn’t shy away from the pain these women carry, but it also offers them a path to healing—a journey that is messy, complicated, and deeply moving.

Iris Elizabeth and Aaron Reese Boseman are quickly establishing themselves as the future of theater in Chicago. While there's much to praise, a minor critique might be directed at the play's lengthy running time. Although the exceptional writing nearly makes the duration worthwhile, it may feel somewhat prolonged for some audience members. However, any potential concerns about the length are effectively alleviated by the riveting performances and the substantial thematic depth that resonate throughout the production.

Overall, Beneath The Willow Tree is a powerful debut from Isis Elizabeth. With Boseman’s sensitive direction and a cast that brings the Bordeaux family to life with authenticity and passion, the play delivers a potent mix of raw emotion, spiritual reflection, and the hard-earned path toward healing. A must-see for those who appreciate deeply human stories with cultural resonance.

Highly Recommended

When: Through September 29
Where: The Den Theatre 1331 N. Milwaukee Avenue, Chicago,
Tickets: $25-$45
Info: www.pulsetheatrechicago.org  (773)697-3830
Running time: 2 hours and 30 minutes with one intermission

The witch is back, Jen Silverman’s ‘Witch’ that is. Since first being commissioned by Writer’s Theatre back in 2018, Jen Silverman’s take on Jacobean theatre has become a somewhat popular selection for regional theaters. The Artistic Home Ensemble brings this play back to Chicago in a revival directed by Devon Carson going on now at The Den.

What continues to be striking about this play is its exploration of hopelessness. ‘Witch’ is about an ostracized woman living in the 1600s who the townspeople have decided (without basis) is a witch. Her miserably lonely life is spiced up when the devil himself comes to town and begins meddling in the lives of the villagers. Some are more easily tempted than others, but the supposed witch, Elizabeth Sawyer (Kristin Collins), is harder for the devil to convince. Besides, what can anyone offer someone who has lost hope for a better future?

The devil played with fiendish fun by Julian Hester finds himself enamored with skeptical Elizabeth Sawyer who is also drawn to him. They spend long nights discussing their world views and within their conversations, Jen Silverman peppers in some humorous, but unsettling monologs about the human condition. Kristin Collins as Elizabeth has a great way of shifting between comedic relief and heart-rending vulnerability. Her character all the while pleading, “can things ever really get better?”

As the devil and Elizabeth get to know each other, the devil also inserts himself into the lives of the richest family in town. His gentle suggestion sets in motion a bitter rivalry that plays out with classic dramatic irony.

Silverman’s script is wise in its sharp tongue and makes a statement on the general apathy many feel every day. In her version, the devil himself has hopes and dreams, but outcasts like Elizabeth have long lost hope that her neighbors can ever evolve past their pettiness.

Like Arthur Miller’s ‘The Crucible’, this play holds a Puritanical mirror to our own time, but unlike John Proctor, Elizabeth doesn’t have altruistic intentions. She may be the protagonist, but she’s not your standard heroine. Silverman’s point in comparing our two eras is to show that people haven’t gotten any wiser. People are still inherently selfish and highly subject to influence.

‘Witch’ is well-acted and well-styled. For a play with such a dark core, there’s a lot of comedy here and this cast really plays that up. Kristin Collins brings a Molly Shannon quality to the lonely Elizabeth that makes her plight far less depressing than it sounds. Hogan’s chemistry with Julian Hester is fun to watch.

More than anything, this play remains as timeless in 2018 as in 2023, because while some political and societal things have gotten better, some have inevitably gotten worse. There will always be cynics and optimists duking it out and perhaps the easiest place to be is somewhere in the middle.

Through December 3^rd at The Artistic Home Ensemble at The Den. 1331 N Milwaukee. 773-697-3830.

Murder, intrigue, and Angela Lansbury: the three universally acknowledged truths that make up a great mystery story. Hell in a Handbag's production of Murder, ReWrote: The Musical Parody at the Den Theatre is the perfect cross-section of drag show and musical. Expect to laugh, cackle, restrain yourself from singing along, and make an immediate tribute to the incomparable Angela Lansbury as you’re reminded of what an icon graced our screens and stages for the better part of a century.

Musical theatre references and camp abound alongside the talented singing and comedic performances. Whether or not you’re a fan of Murder, She Wrote the television show, you’re bound to be entertained outside of all context at Murder, ReWrote: The Musical Parody.

(Left to right) Britain Gebhardt, Grant Drager, David Cerda and Caroline Kidwell in Hell in a Handbag Productions’ world premiere of Murder, ReWrote. Photo by Rick Aguilar Studios.

In The Den Theatre’s Murder, ReWrote, our favorite comedically reimagined mystery novelist Bessica Feltcher (Jessica Fletcher, in the real ‘80s/'90s TV show) has a harrowing case on her hands: that of a rich hieresses's daughter found dead in the living room of the family mansion.

Who could have done it? Her mother? The maid? Bessica’s hapless nephew Grady? It’s like watching a game of Clue play out in real time, only way funnier.

Britain Gebhardt channels Lansbury in voice, looks, and persona as acclaimed mystery author and amateur detective Bessica Jeatrice Feltcher, aka BJ. The hobbyist slueth finds herself at the center of a whodunit murder mystery leaving everyone wondering, “Who killed Christina??”

The rest of the cast is hilarious and committed to their roles as well, from Grant Drager as Bessica’s goofy nephew Grady to David Cerda's haughty, RuPaul-esque portrayal of heiress June Crayfish.

(Left to right) Mark Bartishell, Caroline Kidwell, Britain Gebhardt, Daniel Hurstand, Cathy Reyes McNamara in Hell in a Handbag Productions’ world premiere of Murder, ReWrote. Photo by Rick Aguilar Studios.

Hell in a Handbag Productions goes all out in this production, from the creative and unexpected ways they adapt a television series to the stage, the thoughtful references to Lansbury’s other work sprinkled throughout, and the loving insults they lob at the corniness of the original TV show.

The music and lyrics by George Howe and Ed Rutherford, along with the direction from Anthony Whitaker, make this musical parody a sparkling one. You can feel the love and attention to detail that went into every joke, reference, and visual gag, showing that this creative team genuinely loves its source material. You can only make fun of something lovingly – and cleverly – if you admire it and respect its merit in the first place.

Murder, ReWrote: The Musical Parody is playing at the Den Theatre through September 16, 2023. Tickets can be bought at the box office at 1331 N Milwaukee Ave or on their website.

*Extended through September 18th

Language Rooms is a convincing portrait of the hidden world of government interrogators. These individuals use cajolery and flattery, or fear and intimidation, to persuade individuals to spill their secrets – all on behalf of securing the safety of the state.

This two-act piece (one intermission) flies by, as the characters go about their work. But we see as well the impact that these information-gathering activities have on those doing the questioning. Their personal integrity is compromised as they lie to get truthful answers. It also faces us with a distasteful prospect: if our government and our society condones using intimidation and even physical abuse to gather data, are we not complicit?

Language Rooms involves two Arabic-speaking men on an unnamed government investigating team, quartered in a windowless vault with motorized doors that slide open with a whoosh at the touch of a button. Ahmed (Salar Ardebili) is a rookie, and his work is being closely watched by his supervisor, Kevin (Bradford Stevens). His co-worker, Nasser (Bassam Abdelfattah) is apparently even more fluent in Arabic than Ahmed, and is doing his best to help Ahmed with his weaker command of the language.

It soon becomes evident that the same hidden cameras and observational techniques used in questioning suspects are also trained on the men doing the questioning. They speak to each other with siielding their mouths from view, as they try to carry on private conversations. – just like any office, except that they have the continuous impression they are being watched. The manipulative techniques used on the subjects are also part of the office communication.

All of this provides a set up for a workplace wherein paranoia runs rampant. And as a subtext, these Arab-Americans feel they must not only do a good job, but prove their worthiness and loyalty to the government agency they work for - not to mention to society at large. The plot thickens dramatically as a new suspect is brought in, hooded and shackled: Samir (Bilal Dardai). This one, says Kevin, will be the great test for Ahmed, to prove both his loyalty and his competency. To avoid a spoiler here we can only say this sets up a dynamic, powerful tete a tete between the questioner Ahmed and his subject, Samir.

Samir (Bilal Dardai).

As the probe into his "suspicious" behavior goes on, Samir offers truthful answers, but not convincing ones. "You know the problem with being innocent is the facts don't serve you well," he says. "Innocence is not a good story."

This worldly, sophisticated script by Yussef El Guindi feels as though it will become a classic in the existentialist-absurdist roster, along with works like Miss Margarita’s Way or Master Harold and the Boys, plays in which a sinister undercurrent froths just beneath the surface. El Guindi provides a valuable service to us all just by telling this story. That he does it in such a timeless, universal way, will allow it to be told widely – and we hope it will be.

The production boasts extremely strong performances, especially Ardebili as Ahmed, the rookie; and Dardai, who delivers a perfect portrait of a good-hearted immigrant under a torrent of unfair questioning. I had a chance to see this show twice, April 22 and April 26 – and can say Ardebili had refined and heightened his delivery, and the dynamic between Ahmed and Nasser was even more intensely expressed. Director Kaiser Zaki Ahmed specializes in actor-driven new American plays, and has assistant director credits on two recent, illustrious productions: Guards at the Taj (Steppenwolf) and Hand to God (Victory Gardens).

The script is strong, but the first act could have been streamlined just a little, perhaps to give a stronger thrust to the dramatic rise and moment of suspense as it ends. The Broken Nose Theatre production of Language Rooms runs at The Den Theatre through May 18. It is highly recommended. www.brokennosetheatre.com.

The new show running at the Den Theater, Fun Harmless Warmachine, may surprise you. While treating the world of video games, which struggles for recognition against more established art forms, it delivers an important commentary on a powerful social phenomenon.

Video games are a cultural mainstay; when a new game “drops” it can earn $1 billion, far more than a typical Hollywood blockbuster. Often dismissed as trivial, video games are full, multi-media expressions, and they truly merit our attention.

Fun Harmless Warmachine is also seriously good, I dare say even an important play. But its setting in the social world of virtually-interactive video game players could not be further afield from the living, breathing world of live theater. Playwright Fin Coe has successfully brought that extremely virtual world to its polar opposite, the location known IRL (In Real Life) as the Stage.

The story tracks Tom, a realistic gamer who is one of the many loners, men (and a few women) who could be located anywhere in any location and time zone on earth, and who bond in massively interactive competitive battles, as a rule, without ever meeting each other.

The show’s production at Den Theater is wonderful largely because of great performances. Ayanna Bria Bakari lights up the stage from the moment she enters as Ekaterina. It is impossible to stop watching her performance, as she presents the essence of an empowered, emancipated coquettishness, providing a dramatic pivot point for the play, and for Tom, an everyman gone astray played convincingly by Daniel Chenard. We also witness a jaw droppingly powerful delivery in the closing soliloquy by Emily Marso as Melissa. 

Fun Harmless Warmachine looks at the horrible undercurrent of the misogynist male gamer, which rose to public awareness during the 2013 and 2014 scandal of #GamerGate, years before #MeToo, when women begin to complain about misogyny in the games, and others complained about their gratuitous violence.

This brought to public attention a group of violent gaming advocates, not so different from guns rights militants, who harassed their critics and attempted to stifle the discussion. 

In Fun Harmless Warmachine we meet Tom (Chenard), a wandering, disaffected youth, turning ever more cynical as he realizes he has been captured on a treadmill of a dead end job with an overbearing boss. The more trapped he feels, the more he escapes to the world of gaming, withdrawing from his real relationships with work friends, leaving calls from his family unanswered, and becoming further depressed by a lack of romance in his life.

Tom's world devolves ever more into role playing games, where he poses as an alpha male warrior in a popular mass-participant game known as “Iron Fate.” During a match, Tom is discovered by a secret group of alt right gamer rights advocates – the "Order of the Sword.” The whole thing might remind you of an online version of the Fight Club. Indeed members are sworn to secrecy.  

This group's leader is Hunter, that familiar dominant male presence who can also fortify a weak ego (played with perfect menace by Robert Koon). Hunter woos Tom, enlisting him in Order of the Sword's efforts to stalk, shame, and harass activists who protest gaming for its celebration of violence. It's testosterone-fueled agenda also feeds Tom’s emotional void, giving him a sense of purpose and belonging. Buoyed by the group, his self-esteem rises, and he begins to find success in a new job and in his love life with Ekatarina (Bakari).

As Tom succumbs and becomes part of the group’s sinister pursuits of degrading, stalking and harassing women through social media, he finds a purpose that boosts his ego. 

Ultimately the play comes to a satisfying resolution, and Tom faces up to the evils he has wrought. While it is an Everyman story and a moral fable, this does not diminish Fun Harmless Warmachine as a satisfying dramatic work. 

Though hundreds of millions of people play video games for recreation and enjoyment, there truly is a subset of hyper-masculine, frequently misogynistic communities who combine into teams formed in this world of massively interactive video gamers.

By trial and error such kindred souls bond, and in this social landscape some less healthy individuals do actually form small, and insidious groups of alt right meanies. The groups coalesce into a terribly unhealthy social cliques, often choosing women as targets of their uncivilized behavior.

These folks increasingly transferred their virtual cruelty into real life harassment of harmless individuals who had the misfortune of being caught in their crosshairs. As gamers began to be called out for their misogyny, the term Gamergate arose - resonating too in the pre-#MeToo complaints about Silicon Valley misogyny.

“I finished it in 2015, and I was afraid it wouldn’t be relevant anymore,” says playwright Coe. But given the #MeToo movement and the recent tribulation of the Supreme Court appointment hearings, the world is even more ready for this play. After its run at Den Theater, it would not be surprising to see Coes work reappear at someplace like Steppenwolf Garage or another new voices program. Dramaturgs take note!

Don't miss your chance to see Fun Harmless War Machine through November 4 at The Den Theater in Chicago.

Who doesn’t like magic? I love to be fooled just as much as the person next to me. Make me believe in supernatural powers and I’ll admire everything that’s dished out, even if some of it is a little loose and perhaps lacks a certain showmanship. Well, magician Brett Schneider accomplishes just that: he’ll blow your mind and make you believe in real magic; he’ll guess your innermost thoughts (or is it outermost thoughts, since he asks you to have them on the forefront of your mind)? I don’t know how that works, I was very impressed with his mentalist techniques. The only thing is: I can’t say that I was visually bedazzled, but then again, I need a real spectacle. Brett’s style is very down to earth, unassumingly casual, there’s really no eye candy of any kind, just a simple stage surrounded by the audience, which he boldly promises to unite in the name of magic. Everyone gets involved before the show even starts: you’ll be handed small pieces of paper and pencils and asked to write stuff down and then place them in a glass bowl. The audience is an active participant in most tricks, and everyone is delighted to oblige. It’s a great show in its own right.

Brett Schneider has been performing magic professionally for over 20 years. His work has received numerous awards; he’s also an actor who has worked with Steppenwolf, The Goodman, Lookingglass, Roundabout Theatre, Actors Theatre Louisville, and many others around the country.

A one-man show, Communion: An Evening of Magic is written and performed by Brett Schneider and directed by Elana Boulos. It plays September 13-22, 2018 at The Den Theatre’s Upstairs Main Stage; there’re only 6 performances currently scheduled. Tickets are available at thedentheatre.com. Recommended for ages 13 and up.