Marriott Theatre’s Heartbreak Hotel takes on the tricky task of charting Elvis Presley’s early ascent, walking the line between the mythic figure we think we know and the unpolished young man still figuring out who he was becoming. What emerges is a brisk, music‑driven portrait that leans into the volatility of those formative years - the industry pressures that boxed him in, the personal crossroads that pushed him forward, and the creative sparks that hinted at the cultural earthquake to come. It’s a show less interested in polishing the legend than in capturing the restless drive of a talent on the verge of rewriting American music.

Heartbreak Hotel traces Elvis Presley’s early rise with a pace that stays brisk without ever feeling hurried, using a clever device: a ’68 Comeback‑era Elvis looking back on his younger selves. At times the man, the teen, and the 11‑year‑old boy share the stage simultaneously - singing, reminiscing, harmonizing - embodying a life moving faster than any one version of him can fully grasp. The musical follows Elvis from the tentative spark of his Sun Studio sessions into the glare of national attention, tracing how each new opportunity brings both momentum and complication. Producers, handlers, and well‑meaning advisors orbit him constantly, each with a different vision of who he should become, and the show uses those interactions to underline just how precarious his initial ascent really was.

As the demands of fame tighten around him, the story frames Elvis’s evolution as a series of choices - some instinctive, some imposed, all shaping the performer he’s still learning to be. Rather than digging for psychological depth, the plot focuses on the push‑and‑pull between artistic hunger and commercial pressure, capturing the uneasy transition from raw talent to cultural commodity. It’s a portrait of a young man standing at the edge of a seismic career, long before the iconography calcifies and the legend overtakes the life.

At the center of Heartbreak Hotel is Tyler Hanes playing Elvis Presley, who carries the show with a mix of youthful swagger and genuine vulnerability. His performance hinges not just on vocal accuracy but on capturing the restless, slightly bewildered energy of a young man being swept into stardom. His renditions of “Blue Suede Shoes” and “Heartbreak Hotel” land with the right mix of polish and rawness, and his quieter moments - particularly the early Sun Studio sequences and those paired with Priscilla - give the production its emotional grounding.

The show’s Colonel Tom Parker, portrayed by Rob Lindley, is the necessary counterweight: charming, calculating, and always two steps ahead. Lindley brings a slick, almost Vaudevillian charisma that keeps the character from slipping into caricature (although Parker may have been a caricature of himself anyway). His scenes pop with tension, especially in numbers where he orchestrates Elvis’s next move with a smile that never quite reaches his eyes.

Tyler Hanes as Elvis Presley (center) with ensemble in Heartbreak Hotel at Marriott Theatre.

The Sun Studio ensemble - the musicians, producers, and collaborators - provide some of the production’s most engaging textures. Jackson Evans, as Sam Phillips, is heavily featured in the first act and delivers one of the show’s standout performances, offering a steady, clear‑eyed presence that anchors the opening chapters with real artistic purpose. The play digs into Phillips’s instinct for raw talent - his uncanny ability to spot greatness beforehand - and makes clear that his relentless championing of Elvis is what first carried the young singer’s sound across Memphis and into the broader South. His work with the band digs deep and gives us an idea of Phillips’s impact in shaping a new kind of rock ‘n’ roll sound. Their group numbers in the studio, including “That’s All Right,” have an infectious looseness that contrasts sharply with the more commercialized performances later in the show.

The supporting cast adds essential color. Colton Sims offers a sharp, unaffected turn as Teen Elvis, capturing the raw spark before the polish sets in, and Charles Adler Bischoof, as young Elvis, brings a bright, unguarded innocence that reminds the audience just how early the legend began.

Elizabeth Telford lends Gladys Presley a quiet emotional weight, centering the story whenever she’s onstage. Anna Louise Bramlett brings an earnest warmth to Dixie, while Amanda Walker gives Priscilla a steady, grounded presence that subtly deepens the story.

In one of Heartbreak’s most exciting moments, Alexandra Palkovic takes control of the stage delivering a sleek, charismatic jolt as Ann-Margret, hinting at the whirlwind to come. Palkovic dances with real fire, echoing Ann‑Margret’s signature style with crisp precision and an infectious burst of energy. Palkovic later joins Hanes in one of the most touching moments when the two perform a beautiful rendition together of “You’re the Boss.” The addition of a full Ann‑Margret song‑and‑dance number feels especially meaningful, since her on‑screen chemistry with Elvis has always struck me as one of the high points of his physical and emotional vitality.  

Tyler Hanes as Elvis Presley and Alexandra Palkovic as Ann-Margret.

Karl Hamilton gives Vernon Presley a quiet, understated presence, and Naiqui Macabroad stands out in his multi‑role track - Johnny Bragg, Chuck, Jackie Brenston, and the producer for both Steve Allen and Ed Sullivan - slipping between characters with crisp versatility and welcome bursts of personality. Fredrick Webb Jr. also makes a strong impression in multiple roles, notably as Roy Brown, Otis Redding, Fats Domino, and throughout the ensemble.

Going back to the musicians, the live band is one of the show’s more memorable assets. With Jake Busse as Bill Black, Zac Richey as Scotty Moore, and Trevor Lindley Craft as Ronnie (pre-DJ Fontana days) forming the tight onstage trio, the musicians anchor the production with a sound that feels both authentic and freshly charged. Lindley Craft doubles as Frank Sinatra. He and Hanes deliver one of the evening’s highlights as they recreate the famous duet from Elvis’s post‑Army appearance on The Frank Sinatra Show - a stylish medley of “Love Me Tender” and “Witchcraft” that lands with effortless charm.

Melanie Brezil also brings a radiant spark to Sister Rosetta Tharpe, delivering her featured moment with bright, joyful command on both vocals and guitar.  

Together, the band’s instrumental work and the ensemble’s rich harmonies elevate the musical landscape. A mid‑show gospel sequence of “Peace in the Valley” – another one of this staging’s big moments - showcases the ensemble’s vocal power and reminds the audience of the musical traditions that shaped Presley long before fame did.

Marriott’s in‑the‑round setup gives Heartbreak Hotel an expansive energy, with action unfolding on all sides. The cast’s aisle work draws the audience in, creating a surprisingly immersive sense of scale, and the smart use of media and projections amplifies that impact even further. A staging in this intimate space gives the storytelling room to gather real thrust. That quality becomes especially clear as the sequences build toward the emotional high point, when Elvis finally sheds the cookie‑cutter movie image he’d long outgrown and reclaims his artistry in the ’68 Comeback Special, reestablishing his place as the King of Rock ’n’ Roll. 

I’ve always been drawn to stories orbiting Elvis Presley, and Heartbreak Hotel earns its place among them by honoring the legend without embalming him in nostalgia. Elvis wasn’t just a chart‑topper; he was a cultural accelerant, the artist who fused gospel, blues, country, and rhythm‑and‑blues into a sound that detonated across America and permanently rewired its musical DNA. His influence stretched far beyond the stage - reshaping fashion, performance style, youth identity, and the very idea of what a pop star could be. Productions like this one matter because they keep that seismic legacy in motion, passing it from one generation to the next not as a museum relic, but as a living, breathing force that still shapes the music we hear today.

When referring to rock 'n' roll, John Lennon said it himself, “Before Elvis, there was nothing.” Heartbreak Hotel echoes that sentiment.

Directed and choreographed by Deidre Goodwin, this musical bears the imprint of an artist who understands how to propel a story without letting the spectacle swallow it. Her direction shapes the evening with a steady, purposeful rhythm, keeping the focus tight even as the musical numbers expand outward. Goodwin’s fantastic choreography blends period flavor with a clean, contemporary precision, giving the show a kinetic pulse that feels both rooted in its era and alive in the present. It’s her sense of balance - between nostalgia and freshness, between narrative drive and musical release - that ultimately gives the production its lift.

Elvis devotees will find plenty to appreciate in Heartbreak Hotel, which treats the King’s formative years and artistic rebirth with genuine affection and a clear understanding of his musical legacy. But the show’s appeal stretches well beyond Presley fandom; anyone who loves American music - from gospel and blues to early rock and soul - will recognize the joy in hearing these sounds brought to life by a superbly talented cast and band. Heartbreak Hotel runs through June 2nd at Marriott Theatre and is an exciting musical experience well worth attending. 

For tickets and/or more show information, click here. 

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

Drury Lane Theatre announces the appointment of Matthew D. Carney as its new Artistic Director. A longtime collaborator and key member of the artistic team at Drury Lane, Carney steps into the role following more than a decade of artistic contributions that have helped support the theatre's signature style and high standard of excellence.

Carney joined Drury Lane Theatre in June 2013 and, over the past 13 years, has served as Associate Artistic Director, Casting Director, and Company Manager. His extensive work with the organization includes directing the upcoming production of Buddy – The Buddy Holly Story, serving as Casting Director for more than 70 productions, and acting as resident director for the annual Theatre for Young Audiences production of A Christmas Carol. He has also worked as assistant director on productions including The 39 Steps, Steel Magnolias, Shrek, and Joseph and the Amazing Technicolor Dreamcoat, and as costume designer for The Gin Game. Carney holds a BFA in Theatrical Design and Technology focused in Costume Design from Wright State University.

Kyle DeSantis, President of Drury Lane Productions, welcomed Carney as the new Artistic Director, "When my grandfather first raised the curtain in 1949, he created something special: a place where families discovered the magic of live theatre, children experienced their first Broadway musical, and a passion for performance was handed down through generations. Matt is just the person to carry on the  Drury Lane legacy. I have worked with him for over a decade – his artistry and leadership never ceases to amaze me. I am looking forward to his continued transcendent journey with Drury Lane. I am elated to collaborate with him as he guides us into the next era of world-class theatre in Chicagoland!

"I am deeply honored to lead the next chapter in Drury Lane's story," said Carney. "I am excited by the opportunity to build on Tony DeSantis' legacy while embracing a fresh perspective for a new generation of theatre goers. My goal is to cultivate a space where artists feel inspired to tell classic stories in new ways, audiences feel welcomed and moved by their experience, and every production reflects the excellence Drury Lane is known for."

In his new role, Carney will oversee artistic programming and production at Drury Lane Theatre, helping to shape future seasons while continuing the organization's long-standing commitment to delivering world-class entertainment. Carney's appointment marks an exciting continuation of Drury Lane's tradition of artistic excellence and collaboration.

About Drury Lane Theatre    

Built from scratch. Built in Oakbrook. Built for you. 

Founded by Anthony DeSantis over 70 years ago, Drury Lane remains a family-run organization under the leadership of President Kyle DeSantis. Drury Lane Theatre continues as a major force in the Chicagoland theatre scene, producing world-class theatre in collaboration with some of the nation's leading actors, directors, and creative minds. Drury Lane Theatre produces the highest quality theatrical experience that immerses and supports artists and audiences in the exploration of what it means to be human and to experience the transcending power of the performing and visual arts. Drury Lane strives to create an environment in which every individual or group is welcomed, respected, supported, valued and able to fully experience and participate in this transformative art form. 

The theatre has staged more than 2,000 productions and has been nominated for over 360 Joseph Jefferson Awards. Drury Lane proudly employs thousands of professional actors, musicians, designers, and crew members to entertain upwards of nine million audience members and counting.

It’s no secret every new dance season is filled with its own undercurrent of anticipation. Regardless of the company, audiences who follow them silently wonder what will be the prevailing theme that will dominate a troupe’s next major performance. What attributes will signal growth and maturity.  What kind of insights are going to be shared through a gifted choreographer’s storytelling skills.  What unexpected feat of technical or physical prowess is going to once again prove dance’s unmatched ability to translate the full scope our humanity.

Some companies can always be relied on to provide brilliant responses to those kinds of musings.  Giordano Dance Chicago (GDC) is one of them and their Ignite the Soul program at the Harris Theater for Music and Dance Friday night demonstrated that even with more than 60 years’ experience dancing at the top, the growing process never ceases.  The will and desire to keep striving, learning and absorbing does much more than simply avert atrophy.  It fuels the kind of energy that invigorates everyone on the stage and in the seats.  And it enables some of the galvanizing moments found in Ignite the Soul.

A broad ranging show that spanned genres of dance and artistic temperaments, half of the program’s six dance roster consisted of works that have never previously been performed publicly.  Two of the three world premieres were made possible by donors who, not so uncommonly, prefer to remain anonymous.

The show opened with resident choreographer Al Blackstone’s Latin inspired, Sana.  Receiving its own world premier last year, the dance lives as comfortably in the realm of contemporary dance as it does jazz.  Meant to evoke notions of healing, Sana highlights the beneficence of community and the power of the collective.  Thrillingly dynamic and often probing, Stahv Danker’s original score makes for a potent force that enhances Sana’s appeal.

Over the years, GDC has fine-tuned the way it incorporates film shorts to provide supporting information about the company, its history, its dancers, the choreographers it partners with and the wealth of community initiatives it conducts.  Each season these interludes become more polished and prove more indispensable.  One preceded each of the evening’s new dance segments; providing priceless insights into what fuels a talented choreographer’s creative process.  By the time tap dancer, choreographer and arts executive Mike Minery finished his explanation on how My Kind of Girl came about, you couldn’t wait to see the world premier he collaborated with GDC’s Artistic Director, Nan Giordano, to produce for the company. 

Adam Houston and Sasha Lazarus - photo by Zach Kemper.

Through his lead in, we learn how crucial tap is to much of modern dance and how instructive it can be to a dancer’s technical foundation.  Then we were reintroduced to how therapeutic and beautiful the dance form can be when Minery himself took to the stage with GDC’s splendid Erina Ueda to enrapture the hall with a gorgeous tap duet.  In this hyper-digitized, infamously disconnected world, My Kind of Girl is as analog as a warm hug and twice as pleasing.  Loaded with dance prowess of the highest level and bathed in Frank Sinatra’s silky voice backed by Count Basie’s band, the audience couldn’t help but cheer heartily after My Kind of Girl came to its swoon worthy close. 

Following that welcome touch of sweetness, the company brought out the flame throwers with Sabroso, a 2011 torcher crafted by Del Dominguez and Laura Flores.  Quintessential Giordano in its presentation, dancers shimmied and strutted their way through a sassy half dozen Latin dance styles that came packed with plenty of sensual heat.  Flaunting knock-out sequined costumes designed Nina G., the women in the company made sultry soar while their male counterparts wrapped machismo in a thick layer of sophistication.  Adam Houston and Analysse Vance picture perfect Bolero highlighted the exceptional individual artistry dancers bring to a performance.  The kind that always guarantees delight.

Something of the transformational arrived with Jon Rua’s namuH, a dance signifying the power and importance of love at its most basic and pure.  Rua’s video explanation of his personal background and the trajectory of his career from street dancer to choreographer ideally framed the dance that followed.  The word “Human” spelled backward, namuH feels as if it has one foot in the present day and one in the future.  Bjork and Stateless’s music draw an intense landscape.  Rugged and difficult.  Coupled with neutral, utilitarian costumes worn by the dancers and you sense a sterile almost bleak world.  The energy and magnetism come from the dance and the dancers who, despite any obstacle or hardship, invariably end up leaning on each other to keep on keeping on. 

The music, the way the dance unfolds, the unorthodox movements whose origins clearly derive from the grit of urban streets, all draw you in and leave you captivated.  As rewarding as the choreography itself is, the company’s dancers give it life by fully internalizing its precepts and projecting its message so beautifully.   

This is about as far away from jazz dance as you can get, but namuH’s central theme of cohesion and co-dependence; as well as the way it helps us see the latent generosity in all of us, make it an ideal match for this venerable dance company that can shape shift so elegantly.

Excerpts of Ronen Koresh’s 2015 Crossing/Lines preceded the night’s finale and final world premiere, Dumb Luck!, choreographed by Mr. Blackstone.   A salute to the country’s upcoming 250 anniversary and an intentional lighthearted salve to our erratic times, Dumb Luck!, with its nautical pastiche and post-war verve, is a happy escape to nostalgia.  Nina G.’s period sailor outfits take you right back to the grand old days of splashy Hollywood musicals.  Coasting on jazz gold via the sounds of The Nate King Cole trio, the Manhattan Transfer, and Big Bad Voodoo Daddy, dancers cavort while maintaining tight but jaunty dance formations.

A very fine effort, strengthening the dance’s core character would make it more even more distinctive.  

Whetting the appetite for more is what Dumb Luck! and the rest of the dances making up Ignite the Soul’s program do all too well.  Placing those expectation reveries about their next stage outing on high boil once again.

Ignite the Soul

Giordano Dance Chicago

April 10-11, 2026

Venue: The Harris Theater for Music and Dance

205 E. Randolph Street

Chicago, IL  60601

For more information about Giordano Dance Chicago:  https://www.giordanodance.org

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

The 1950s is easy to idealize. Men styled tailored suits, women dazzled in pleated dresses, and everything glimmered like it was in a commercial. Life’s troubles were solved with a talk from pop or a hug from mom – or that’s how it seemed. Drury Lane Theatre’s Father of the Bride transports audiences to that romanticized time, and it’s a welcome trip!

Published in 1949, Father of the Bride was adapted for the stage and screen, including two beloved movies starring Hollywood heavy-weights Elizabeth Taylor, Spencer Tracy, and, later, Steve Martin in 1991. While a wedding-gone-wrong may be a familiar story, director Michael Heitzman infused Drury Lane’s rendition with charm, laughter, and sincerity, making it feel fresh.

The play follows Stanley Banks, whose one-and-only daughter prepares for her big day, but she just wants a simple ceremony. Then again, she does want to invite all of her friends… and wants a beautiful dress… and well, by the time everything adds up, the small affair balloons into a whopping headache for dad.

Joe Dempsey’s portrayal of Banks, the set-in-his-ways father, is spot on, and his ad-libbed groans and physical comedy can’t help but make you laugh and empathize with poor, ol’ dad. He balances his old‑school bravado with the teddy-bear-interior so well, creating the heart of the story and avoiding the tired “dumb dad” troupes.

Aurora Penepacker and Jake DiMaggio Lopez in Father of the Bride. Photo by Justin Barbin.

Also making up the family is Rachel Sullivan, who plays the mother, Ellie Banks, with a gentle, confident air, and sons Ben and Tommy are portrayed by Kyle Ringley and Charlie Long, who bring charismatic Leave It to Beaver energy.

Aurora Penepacker plays Kay Banks, the soon-to-be bride with all of the charm of Elizabeth Taylor, and Jake DiMaggio Lopez is her moonstruck, in-over-his-head fiancée, Buckley Dunstan. Their chemistry is fun to watch as every emotion ping-pongs around as their nuptials draw near.

The ensemble also includes some fantastic performances. Michele Vazaquez portrays the tightly wound secretary, Miss Bellamy, who delivers a hilarious meltdown when every member of the family sabotages her efforts to finalize a guest list. Ed Kross brings quirky comedy as the caterer, Mr. Missoula, who steamrolls the Banks (and jumps like Super Mario), and Maya Hlava as Peggy Swift is an overzealous girl-next-door who plots to catch the bouquet.

The original compositions composed by Curtis Moore also deserve a shout-out. They serve as the perfect soundtrack during sequences which showed seasons changing or wedding gifts flooding in and add that extra something that makes you feel like you’re watching your favorite black-and-white sitcom.

Comedy can be tricky to tackle, but Father of the Bride makes ever beat work. It’s whimsical, playful, and a reminder that when things go awry, those you love will always be there. Father of the Bride is an invitation to a pure, wholesome evening, and it’s an invite you should not pass up.

Father of the Bride runs through May 31 at Drury Lane Theater. Click here for tickets and more information.

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

Theresa Rebeck’s Poor Behavior at Oil Lamp Theatre, directed by Lauren Katz, opens with the easy warmth of old friends reconnecting - only to reveal how quickly a shared history can curdle. Within minutes, the play exposes the messy, magnetic dynamics that will drive the evening off the rails.

Peter and his wife, Ella (Jack Morsovillo and Ksa Curry), have welcomed their longtime friends, Ian and Maureen (Sam Fain and Lauren Paige), to their getaway country home for what’s meant to be an easy, wine‑soaked weekend. At first, everything feels harmless enough: the four drift around the kitchen and dining area, chatting, teasing, negotiating snacks - Peter is fixated on getting ice cream, Maureen keeps the small talk humming - the kind of casual domestic bustle that suggests comfort and history. But the mood shifts quickly when Ella and Ian slip into a heated exchange. Their rhythm is so practiced, so charged, that it feels less like a friendly debate and more like a well‑worn battleground. The familiarity between them is startling; before the play has even fully settled, you can’t help but wonder whether these two are circling an old intimacy the others aren’t acknowledging.

Ella insists - almost with a kind of moral urgency - that there is still goodness in the world, that people are capable of generosity and grace if you’re willing to look for it. Ian, however, has no patience for her optimism. Once enamored with America when he first arrived from Ireland, he now sees the country through a far bleaker lens. Every example Ella offers is batted away; to Ian, America is a place that devours resources, exploits the planet, and disguises greed as virtue. His cynicism isn’t casual - it’s sharpened, almost weaponized - and the more Ella pushes, the more he digs in. The argument escalates until the air in the room feels charged and brittle, the kind of tension that makes everyone else freeze. And then, just as it threatens to tip into something truly damaging, they both pull back. Cooler heads prevail, apologies surface, and the group collectively pretends they haven’t just witnessed a fault line crack open beneath the weekend – for the moment.

Peter has known Maureen since childhood - his brother even dated her for a time - and that shared history lends their friendship an instinctive ease. Neither couple has children, a fact they use, somewhat conveniently, to justify how tightly they cling to one another’s company. But do they actually like each other as much as they claim? As the evening unfolds, small cracks begin to show. The conversation among the foursome is lively enough on the surface, yet it quickly becomes clear that each marriage carries its own quiet fractures. Then, when Maureen misinterprets a moment of consolation between Ella and Ian - whose father has just died, or so he says - the weekend tilts sharply off its axis. Accusations fly, lies multiply, manipulation takes root, and before long the polite veneer between these two couples is stripped away entirely.

(L to R) Sam Fain, Ksa Curry, Jack Morsovillo and Lauren Paige in POOR BEHAVIOR from Oil Lamp Theater. Photos by Gosia Matuszewska - GosiaPhotography.com.

At first, the “poor behavior” can be dismissed as simple drunkenness - after all, Ian has plowed through four bottles of wine on his own. But as the night wears on, it becomes clear that alcohol is only the accelerant, not the cause. Rebeck gradually peels back the layers on all four characters: Maureen, whose anxiety and emotional fragility leave her grasping for reassurance; Ian, who seems to relish stoking doubt and discomfort whenever the opportunity presents itself; Ella is idealistic but is clearly withholding something; it’s subtle, but the undercurrent of it hums beneath everything she does; and mild-mannered Peter, who defaults to denial, choosing avoidance over confrontation and clinging to the hope that he can simply walk away from the weekend as though nothing has happened. What begins as sloppy, alcohol-fueled bickering soon exposes the fault lines that have been waiting for the slightest spark to rupture.  

Sam Fain and Ksa Curry deliver two of the evening’s most arresting performances, their scenes pulsing with an undeniable, almost disarming connection from the get-go. Fain’s Ian commands the room with a dangerous charm, twisting conversations to his advantage while letting flashes of buried desire slip through the cracks, while Curry’s Ella meets him with a grounded emotional intelligence that reveals the deeper currents Rebeck threads beneath their exchanges. Lauren Paige brings a raw, aching vulnerability to Maureen, charting her spirals of insecurity with precision and empathy, and Jack Morsovillo anchors the chaos as Peter, his quiet restraint and mounting frustration giving the play its moral center.

The arguing is relentless, and the tension feels startlingly real. Under Lauren Katz’s direction, the world of Poor Behavior becomes a room primed to combust with every glance, pause, and interruption calibrated to reveal the messy, volatile dynamics between these four characters. Katz cultivates a realism so precise that the uncomfortable moments become genuinely unsettling, keeping us on our toes as we anticipate what might unfold next - good or bad. And though we may root for these couples to find their way back to solid ground, the production holds us captive with the stark authenticity of their unraveling, a truthfulness that makes the prospect of reconciliation feel increasingly remote. Rebeck’s script raises thorny questions about the strength of relationships, the dangers of complacency (or not – for some), the limits of tolerance, and the moment when “enough” finally becomes enough - and Katz ensures those questions echo long after the final scene.

The thoughtfully crafted set serves this play perfectly, which strengthens the production’s overall effectiveness. Trenton Jones shapes a kitchen‑and‑dining‑room layout that feels like a genuinely lived‑in countryside home. A staircase rises toward the suggested upstairs bedrooms, while just beyond the kitchen refrigerator sits the entrance to a ground‑floor guest room. The result is a spacious‑looking design that expands the world of the play and works remarkably well on Oil Lamp’s intimate stage.

Oil Lamp Theater’s well-paced Poor Behavior succeeds because every element - Rebeck’s incisive writing, Katz’s sharply attuned direction, and a quartet of deeply committed performances - works together to illuminate the muddled, contradictory ways people love, wound, and misread one another. The staging embraces discomfort without sacrificing its humanity, inviting us to recognize uncomfortable truths about ourselves in the chaos onstage. By the time the lights fade, we’re left with the uneasy understanding that relationships don’t always resolve neatly, yet the effort to navigate them is what makes us unmistakably human. It’s the kind of play that stays with you long after you’ve left the theater.

Poor Behavior is being performed at Oil Lamp Theatre through May 10^th. For tickets and/or more show information, click here.

Highly recommended.

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

You don’t know what you’ve got until it’s gone and married someone else – that’s how Noel Coward’s Private Lives sees it. For those unfamiliar with Coward, his scripts have bite and humor that were ahead of its time when they first hit the stage in the 1930s. Today, the edge may not be as sharp or controversial, but the dialogue and situational comedy still lend itself to a riotous evening.

BrightSide Theatre presents this playful comedy all about exes who happen to honeymoon with their new spouses at the same hotel.

What starts as a horribly awkward coincidence for Amanda and Elyot takes a turn when their mutual annoyance for their new partners rekindles their old flame. In no time, she climbs over into his adjoining terrace, and they run off, leaving their actual spouses to sort it out. They were kind enough to leave a note though. But it doesn’t take long for old patterns to rear their ugly head, and Amanda and Elyot, despite their promise not to bicker (even coming up with a game of silence when a fight is about to start), call it quits again. That is, until their old (new?) lovers find them and remind the on-again-off-again pair why they just can’t quit each other. There’s no end to the comedy as love is portrayed as messy, fickle, and volatile – with a few humorously choreographed fights mixed in.

Directed by Jeffrey Cass, also the Artistic Director, this rendition makes the most of Coward’s razor‑sharp script. The actors deliver lines with a lead foot, only pausing long enough for the audience to laugh before it’s on to the next joke. It’s a good thing, too, because in lesser hands this wordy play could have been stretched into a dull affair. While most of the zingers pack a punch, the script isn’t perfect. In fact, Act 1’s second scene spins its wheels before finally taking the plot where the audience already knew it was going. But in the hands of these capable actors, we can forgive Coward for being verbose.

Jon Cunningham and Jamie Marie DePaolo play Elyot and Amanda respectively, and their chemistry is the driving force of the evening. Their banter sizzles. DePaolo steals the show though with the firecracker energy she brings. There were several moments where just her facial expression got a laugh. She so thoroughly embodied this magnetic, yet mercurial she charmed everyone from her first entrance.

Portraying their other love interests are Matt Hellyer and Emily Sherman, who play their respective roles very capably – as perfect saps. After getting dumped on the first day of their honeymoon, their characters secretly hope that they’ll take them back. So, while you empathize, their lack of personal self-worth makes them unappealing – helping justify our leads horrid behavior. The cast works very well together, matching each other’s energy and comedic chops. In fact, their synergy was even evidenced by a scene change. They worked so quickly and efficiently in the dim light to transition a hotel’s terrace to a flat’s interior that everyone applauded when they were finished.

Along with plenty of laughs, there is also a lesson on love. These selfish characters demonstrate a total incomprehension of the true meaning of that four-letter word, which is ironic since the final act takes place in Paris, a city known for romance. But that’s the problem. These couples thrive on passion, and when the dust settles, they want the next hit for their heart. But true love is sacrificial, putting another’s needs before your own, which is something they don’t understand. It’s illustrated perfectly by Amanda’s French maid. When she speaks to them, they only nod and smile, since they don’t know French. In the same way, they don’t know the language of love either and fumble around, pretending with each other that they do. But while it may cause trouble for these characters, it’s a treat for the audience.

Private Lives runs through April 29 at BrightSide Theatre at the Theater at Meiley-Swallow Hall North Central College, 31 S. Ellsworth St. in Naperville. For tickets and/or more show information, click here.

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

As I entered the black box studio at Chicago Shakespeare Theater, I’ll admit - I wasn’t in the best frame of mind. Before leaving home, I’d watched the news: the endless cycle of violence, bombings, and that tired “us versus them” narrative that seems to define our moment. My spirit felt worn down. On top of that, I had spent the day finishing a review from earlier in the week, so I arrived more drained than inspired. Theatre, on this night, felt like an obligation.

Then Mrs. Krishnan’s Party happened - and everything shifted.

Instead of the usual routine of being guided to my seat by The Saints, I was greeted at the door by James (Justin Rogers), dressed in an outfit that immediately caught my attention. He asked my name. We talked. It wasn’t forced or performative - it was genuinely human. By the time he led me to my seat, the invisible barrier between audience and performer had already begun to dissolve. He introduced me to the people around me: to my left, a well-traveled gentleman from Ohio by way of India; to my right, a mother and daughter who helped identify James’s attire as a South Indian costume, rich with cultural specificity. Already, I wasn’t just watching a show - I was part of a group.

That’s when I realized we were not simply audience members, but guests of James, who was hosting a surprise party for his landlady. The occasion is Onam - a vibrant harvest celebration rooted in the southern Indian state of Kerala. What unfolds is not just theatre, but an act of radical hospitality. Music pulses. Conversations bloom. Strangers become co-conspirators in joy. This show is more than immersive - it is enveloping, dissolving the line between performer and audience until you’re no longer watching a story, you’re living inside it.

This approach is the hallmark of Indian Ink Theatre Company, the New Zealand-based ensemble behind the production. Founded by Justin Lewis and Jacob Rajan in the late 1990s, the company has earned an international reputation for creating intimate, actor-driven works that blend South Asian storytelling traditions with contemporary theatre. Their work explores identity, migration, and cultural hybridity through a deeply human - and often humorous - lens. More than anything, they prioritize connection: their productions don’t just tell stories; they build shared experiences.

And that’s what undid me.

Photo courtesy of Indian Ink Theatre Company.

When Mrs. Krishnan (Kalyani Nagarajan) finally arrives, she is startled to find the back of her small shop filled with strangers. There’s hesitation - this wasn’t her plan - and beneath it, something heavier lingers. As the evening unfolds, we begin to feel the weight she carries: the loss of her husband, the quiet ache of a son - an architect - now gone. These moments settle into the space with a tender gravity, reminding us that her warmth is hard-earned.

And yet, just as the story begins to lean into that sorrow, the play grabs and lifts us again. Laughter breaks through, balloons appear. Music returns. The room brightens. What begins as disruption transforms into delight as she embraces the gathering and, in a gesture both intimate and communal, decides to cook daal for all of us. In that moment, grief and joy exist side by side—each making space for the other.

Somewhere between the laughter, the dancing, and the smell of daal, the heaviness I carried into the theatre dissolved. Not in a naïve or escapist way, but in a way that felt necessary. Soundly directed by Justin Lewis, the show doesn’t ignore the fractured world outside; it quietly insists on another possibility within it: community, warmth, shared humanity.

By the end of the evening, I realized I hadn’t just watched a play - I had been in community with people different than me, yet deeply the same. In a time when division dominates the headlines, Mrs. Krishnan’s Party offers something deceptively simple and profoundly radical: a room full of strangers choosing, for a moment, to be together.

And that, right now, feels like everything.

Recommended

When: Through May 3rd
Where: Chicago Shakespeare Theatre 800 East Grand Avenue in Chicago.
Tickets: $74 - $90

Box Office: 312.595.5600
Info:  www.chicagoshakespeare.com

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

Depending on the source, Bat Out of Hell ranks among the top‑selling albums of all time, so its eventual leap to the stage in 2017 felt almost inevitable. Written by Jim Steinman and performed by Meat Loaf, the album’s grandiose ‘70s sound hardly suggests a post‑apocalyptic narrative, yet that’s the unexpected framing audiences encounter here. Meat Loaf’s music has always thrived on high‑energy rock‑opera theatrics  - a powerhouse voice wrapped in oversized emotion and unapologetic melodrama -  so while this storyline wouldn’t have been my first guess for a theatrical adaptation, it surprisingly fits. What works especially well is the way the show taps into the romantic rebellion that defined his performances, echoing the presence of an artist who approached each number as a miniature piece of theatre.

For its one‑night‑only performance at the Auditorium Theatre, Bat Out of Hell - The Musical opens with a confident burst of energy, pairing Steinman’s masterful songbook with a theatrical approach that’s more measured than its reputation suggests. Rather than presenting Meat Loaf’s iconic album as a straightforward rock spectacle, the creative team leans into the material’s operatic sweep and dystopian romance, shaping it into a visually engaging and musically cohesive piece of rock theatre. In the Auditorium’s spacious setting, the cinematic staging and amplified aesthetic settle in comfortably, allowing the show’s size to register without overwhelming the story at its center.

Set in the neon‑lit sprawl of post-doomsday Obsidian, Bat Out of Hell - The Musical centers on the charged relationship between Strat (Conor Crowley) - the eternally young leader of a band of renegade teens known as The Lost - and Raven (Carly Burns), the sheltered daughter of the city’s iron‑fisted ruler, Falco (Travis Cloer). Strat moves through a world shaped by rebellion and restless freedom, while Raven has grown up behind barricades built as much from fear as from concrete. Caught between them is Sloane (Tori Kocher), Falco’s long‑suffering wife, whose presence adds a more human counterpoint to the household’s rigid control. Their intersecting tensions spark a collision between desire and authority, youth and power, with Steinman’s sweeping rock anthems amplifying every emotional turn.

As Strat and Raven navigate the risks of their forbidden bond, the story widens to reveal the fractures within Falco and Sloane’s marriage - a counterpoint that exposes the weight of time, compromise, and regret. Meanwhile, The Lost struggle to hold onto their identity in a city determined to contain them. The narrative unfolds less as a traditional plot than as an atmospheric journey, laced with youthful rebellion and driven by Steinman’s music, which propels the characters through a world where love becomes both an act of defiance and a means of survival.

The show’s design builds around Steinman’s biggest showstoppers, threading them through the narrative with the kind of theatrical sweep that has long defined his work. Signature numbers such as “Bat Out of Hell,” “I’d Do Anything for Love (But I Won’t Do That),” “Two Out of Three Ain’t Bad,” and “Paradise by the Dashboard Light,” delivered with standout vocals and sizzle from Travis Cloer and Tori Kocher, form the musical backbone of the evening, each landing with the scale and intensity fans expect. Rather than serving as simple nostalgia cues, these songs shape the emotional architecture of the production, driving its crescendos and giving the story much of its momentum. Their presence underscores just how enduring - and theatrically adaptable - Steinman’s catalog remains.

As the production’s central pair, Conor Crowley and Carly Burns offer grounded, complementary performances as Strat and Raven. Crowley brings a clear vocal presence and an easy confidence to the role, while Burns provides a calm, steady counterpoint that helps shape the emotional arc of their scenes together. Their dynamic feels natural and unforced, giving the story a solid center without overpowering the production’s broader stylistic choices.

Production phot of Bat Out of Hell - The Musical by Chris Davis Studio 2

The ensemble moves with an easy rhythmic cohesion, offering strong vocal moments that add texture and dimension to Jay Scheib’s vision. Their presence helps fill out the world of Obsidian, giving the production momentum even when the staging remains intentionally spare. Scheib’s use of a live onstage cameraman adds another layer, capturing close‑up details that are projected onto two large overhead screens and lending the performance a subtle filmic quality. The choice works on both a practical and stylistic level, allowing the show to shift between the intimacy of the camera lens and the broader sweep of the stage. What initially feels like a distraction quickly becomes part of the visual language of the production, blending in so seamlessly that the cameraman all but disappears from notice.

The physical world of Bat Out of Hell - The Musical unfolds across a vast industrial landscape that captures the fractured, glow‑soaked atmosphere of Obsidian. The set itself is relatively simple, but the production makes sharp use of dynamic lighting to build atmosphere, scale, and momentum. A towering network of platforms, staircases, and metal scaffolding creates a vertical playground where the cast can vault between levels and stage the show’s most high‑energy moments. One of these platforms houses the live band, led by Greg Paladino, whose presence adds both immediacy and a welcome sense of rock‑concert authenticity.

Bat Out of Hell threads its spectacle with clear symbolic beats: The Lost, frozen in age, embody youth suspended between rebellion and stagnation, while Obsidian’s crumbling, fluorescent‑hazed skyline reflects a society shaped by fear and control. Strat and Raven’s romance becomes a tug‑of‑war between liberation and confinement, and Falco’s fortress stands in for every system determined to hold change at bay. Even the production’s constant motion suggests a world enthralled by spectacle yet uneasy with evolution.

It’s gratifying to see that the legacy of Jim Steinman and Meat Loaf continues to reach new audiences, while also resonating with longtime fans - some of whom sing along to every word of certain songs throughout the performance. The material’s larger‑than‑life sound remains a recognizable cultural marker, and this musical now holds a distinct place for many who appreciate the intersection of rock and musical theatre.

In the end, Bat Out of Hell - The Musical isn’t aiming for subtlety, but that’s part of its charm. It delivers an energetic surge powered by Steinman and Meat Loaf’s expansive songbook and a cast that commits fully to every moment. The storyline undoubtedly edges into corniness here and there, yet it matters little when the production is this unabashedly fun - and the sheer force of the music makes the ride worthwhile on its own.

The bat may well fly back again someday, but for now, Bat Out of Hell - The Musical arrived as a one‑night‑only event. For more information, visit https://batoutofhellmusical.com/.

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

The Tony Award® winning Best Musical, THE OUTSIDERS, based on the seminal novel by S.E. Hinton and Francis Ford Coppola’s landmark motion picture, will return to Broadway In Chicago’s Cadillac Palace Theatre this summer, August 4 – 16, 2026, after a sold-out engagement earlier this year. Groups of 10+ are now available by calling 312-977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. Single tickets will go on sale Monday, April 20. For more information, visit www.BroadwayInChicago.com.

“We are thrilled to bring THE OUTSIDERS back to Chicago this summer,” said producer Matthew Rego of The Araca Group. “After an extraordinary sold-out run this past winter, Chicago audiences made it clear they were ready for a return and we are grateful for the opportunity to deliver another engagement.”

In Tulsa, Oklahoma, 1967, Ponyboy Curtis, his best friend Johnny Cade and their Greaser family of ‘outsiders’ battle with their affluent rivals, the Socs. THE OUTSIDERS navigates the complexities of self-discovery as the Greasers dream about who they want to become in a world that may never accept them. With a dynamic original score, THE OUTSIDERS is a story of friendship, family, belonging…and the realization that there is still “lots of good in the world.”

The winner of four 2024 Tony Awards, including Best Musical, THE OUTSIDERS features a book by Tony Award nominee Adam Rapp with Tony Award winner Justin Levine, music and lyrics by Tony Award nominees Jamestown Revival (Jonathan Clay & Zach Chance) and Justin Levine, music supervision, orchestration & arrangements by Justin Levine, choreography by Tony Award nominees Rick Kuperman & Jeff Kuperman and is directed by Tony Award winner Danya Taymor. 

THE OUTSIDERS features Scenography by Tony Award nominees AMP featuring Tatiana Kahvegian, Costume Design by Sarafina Bush, Lighting Design by Tony Award winner Brian MacDevitt, Sound Design by Tony Award winner Cody Spencer, Projection Design by Tony Award winner Hana S. Kim, Special Effects Design by Jeremy Chernick & Lillis Meeh, Hair & Wig Design by Alberto “Albee” Alvarado, Makeup Design by Tishonna Ferguson, Sound Effects Specialist Taylor Bense, Creative Consultant Jack Viertel. Speech Text & Dialect Coach Gigi Buffington. Music Supervision & Additional Orchestrations by Tony Award nominee Matt Hinkley, Music Direction by Remy Kurs. Production Supervision by Beverly Jenkins, Production Stage Management by Edmond O’Neal. Casting is by The TRC Company/Xavier Rubiano, CSA

THE OUTSIDERS opened on Broadway on April 11, 2024, to rave reviews and continues to play to sold out houses at the Jacobs Theatre (242 West 45^th Street). The New York Post proclaims THE OUTSIDERS as “THE BEST NEW MUSICAL OF THE SEASON." “STUNNING THINGS ARE HAPPENING ON THE STAGE OF THE JACOBS THEATER. Electrifying. Astonishing. Endlessly effective. THE OUTSIDERS has been made with so much love and sincerity. It is fair to call it golden." says The New York Times. Entertainment Weekly says, “THE OUTSIDERS has a heart of gold and THE POWER TO INSPIRE AN ENTIRE GENERATION.” “AN EXHILARATING WORLD OF MOVEMENT WITH HIGH-OCTANE CHOREOGRAPHY,” states New York Magazine. Time Out New York calls it “RAW AND MORE PULSE-POUNDING than anything else on Broadway right now."

THE OUTSIDERS is produced on tour by The Araca Group, American Zoetrope, Olympus Theatricals, Sue Gilad & Larry Rogowsky, Angelina Jolie, Betsy Dollinger, Jonathan & Michelle Clay, Cristina Marie Vivenzio, The Shubert Organization, LaChanze & Marylee Fairbanks, Debra Martin Chase, Sony Music Masterworks, Jamestown Revival Theater, Jennifer & Jonathan Allan Soros, Tanninger Entertainment, Tamlyn Brooke Shusterman, Mistry Theatrical Ventures, Galt & Irvin Productions, Tulsa Clarks, Paul & Margaret Liljenquist, Bob & Claire Patterson, Voltron Global Media, James L. Nederlander, Warner Bros. Theatre Ventures, The John Gore Organization, Independent Presenters Network, Stephen Lindsay & Brett Sirota, Jeffrey Finn, Playhouse Square, ASR Productions, Indelible InK, Lionheart Productions, The Broadway Investor’s Club, Starhawk Productions, Distant Rumble, GTR Productions, Green Leaf Partnership, Michael & Elizabeth Venuti, Leslie Kavanaugh, Deborah & Dave Smith, Belle Productions, Chas & Jen Grossman, Rungnapa & Jim Teague, Michael & Molly Schroeder, Casey & Chelsea Baugh, Jim & Emily Flautt, Jon L. Morris, Becky Winkler, William Moran Hickey Jr. & William Moran Hickey III, Melissa Chamberlain & Michael McCartney, Wavelength Productions, Rob O’Neill & Shane Snow, Eric Stine, Rachel Weinstein, Cornice Productions and La Jolla Playhouse. 

The Grammy-nominated Original Broadway Cast Recording of THE OUTSIDERS from Sony Masterworks Broadway is now available at https://theoutsidersbroadway.lnk.to/castalbum.

The world premiere of THE OUTSIDERS was produced by La Jolla Playhouse, Christopher Ashley, Artistic Director and Debby Buchholz, Managing Director, in March 2023.
 

OutsidersMusical.com 
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ABOUT BROADWAY IN CHICAGO
Broadway In Chicago was created in July 2000 and over the past 26 years has grown to be one of the largest commercial touring homes in the country. A Nederlander Presentation, Broadway In Chicago lights up the Chicago Theater District entertaining up to 1.7 million people annually in five theatres. Broadway In Chicago presents a full range of entertainment, including musicals and plays, on the stages of five of the finest theatres in Chicago’s Loop including the Cadillac Palace Theatre, CIBC Theatre, James M. Nederlander Theatre, and just off the Magnificent Mile, the Broadway Playhouse at Water Tower Place and presenting Broadway shows at The Auditorium™.

For more information and tickets, visit www.BroadwayInChicago.com.
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