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Individual tickets for Cameron Mackintosh's acclaimed production of Alain Boublil and Claude-Michel Schönberg's Tony Award-winning musical phenomenon, LES MISÉRABLES, will go on sale on Friday, September 20. LES MISÉRABLES will play Broadway In Chicago's Cadillac Palace Theatre (151 W. Randolph St.) for a limited three-week engagement, December 17 – January 5.

More information can be found at LesMis.com, the official global website for LES MISÉRABLES.

Cameron Mackintosh said, "The phenomenon of Les Misérables never fails to astound me.  No show in history has been able to continually reinvent itself and remain a contemporary musical attracting new generations of brilliant new talent, many of whom go on to international stardom. No show in the world has ever demonstrated the survival of the human spirit better than Les Miz, and it's time to let the people sing again. We are all thrilled to be Bringing Her Home to you."

★★★★★ "This reborn dream of a production looks and sounds fresher than ever. Sends shivers of excitement racing down the spine - You emerge feeling stirred and exhilarated." - Daily Telegraph

"One of the greatest musicals ever created." –  Chicago Tribune

"The defining musical of the last 50 years." – BroadwayWorld

★★★★★ "The mighty Les Mis is still revolutionary." –  Daily Mail

"Les Mis for the 21st Century." – The Huffington Post

Set against the backdrop of 19th century France, LES MISÉRABLES tells an enthralling story of broken dreams and unrequited love, passion, sacrifice and redemption – a timeless testament to the survival of the human spirit. This epic and uplifting story has become one of the most celebrated musicals in theatrical history. 

Boublil & Schönberg's magnificent score of LES MISÉRABLES includes the classic songs "I Dreamed a Dream," "On My Own," "Bring Him Home," "Do You Hear The People Sing?," "One Day More," "Master of the House" and many more.  Seen by over 130 million people worldwide in 53 countries, 438 cities and 22 languages, LES MISÉRABLES is undisputedly still one of the world's most popular musicals.

To date, LES MISÉRABLES remains the 6th longest-running Broadway production of all time.

Since Cameron Mackintosh first conceived this acclaimed new production of LES MISÉRABLES in 2009 to celebrate the show's 25th anniversary, it has taken the world by storm continuing to enjoy record-breaking runs in countries including North America, Australia, Japan, South Korea, Netherlands, Belgium, and Spain. LES MISÉRABLES will enter its 40th record-breaking year in London's West End this October and to celebrate the milestone the show launches its first World Tour with the highly anticipated LES MISÉRABLES THE ARENA SPECTACULAR, playing dates throughout Europe, Australia, Taiwan, Japan, South Korea, and more destinations to be announced.  Simultaneously, and for the first time ever, 11 leading amateur companies in the UK will present their own staging of the full show across the country in 2025. Earlier this year, the remastered and remixed Oscar-winning movie was also released again in several countries around the world.

Cameron Mackintosh's production of LES MISÉRABLES is written by Alain Boublil and Claude-Michel Schönberg and is based on the novel by Victor Hugo. It has music by Claude-Michel Schönberg, lyrics by Herbert Kretzmer and original French text by Alain Boublil and Jean-Marc Natel, additional material by James Fenton and adaptation by Trevor Nunn and John Caird. Orchestrations are by Stephen Metcalfe, Christopher Jahnke and Stephen Brooker with original orchestrations by John Cameron. The production is directed by James Powell and Laurence Connor, designed by Matt Kinley inspired by the paintings of Victor Hugo, with costumes by Andreane Neofitou, additional costume designs by Christine Rowland and Paul Wills, lighting by Paule Constable, sound by Mick Potter, projections realized by Finn Ross, Jonathon Lyle and Fifty Nine Productions, musical staging by Geoffrey Garratt, music supervision by Stephen Brooker and James Moore, and casting by Tara Rubin Casting.

The LES MISÉRABLES associate director is Corey Agnew, musical staging associate is Jesse Robb, resident director is Brendan Stackhouse and music direction is by Will Curry. The LES MISÉRABLES tour stage management team is led by Ryan W. Gardner with Claire Farrokh and Hollis Duggans-Queenss.  The company management team is Chris Danner and Elle Aghabala.

Connect with LES MISÉRABLES online at: 

www.LesMis.com

Facebook: LesMizUS

Instagram: @LesMizUS

X: LesMizUS

PERFORMANCE SCHEDULE

Tuesday, December 17 at 7:00 p.m.

Wednesday, December 18 at 7:00 p.m.

Thursday, December 19 at 7:00 p.m.

Friday, December 20 at 7:30 p.m.

Saturday, December 21 at 2:00 p.m. & 7:30 p.m.

Sunday, December 22 at 1:00 p.m. & 6:30 p.m.

Monday, December 23 at 7:00 p.m.

Tuesday, December 24 at 1:00 p.m.

Wednesday, December 25 NO SHOW

Thursday, December 26 at 7:00 p.m.

Friday, December 27 at 1:00 p.m. & 7:30 p.m.

Saturday, December 28 at 2:00 p.m. & 7:30 p.m.

Sunday, December 29 at 1:00 p.m.

Monday, December 30 at 7:00 p.m.

Tuesday, December 31 at 1:00 p.m.

Wednesday, January 1 NO SHOW

Thursday, January 2 at 7:00 p.m.

Friday, January 3 at 1:00 p.m. & 7:30 p.m.

Saturday, January 4 at 2:00 p.m. & 7:30 p.m.

Sunday, January 5 at 1:00 p.m.

TICKET INFORMATION

Individual tickets for LES MISÉRABLES will go on sale to the public on Friday, September 20 and range from $40.00 - $160.00 with a select number of premium tickets available. Tickets are available now for groups of 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. For more  information, visit www.BroadwayInChicago.com.

ABOUT BROADWAY IN CHICAGO

Broadway In Chicago was created in July 2000 and over the past 25 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, Auditorium Theatre, and just off the Magnificent Mile, the Broadway  Playhouse at Water Tower Place.

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

Facebook @BroadwayInChicago ● Instagram @broadwayinchicago ● TikTok @broadwayinchicago ● #broadwayinchicago

Broadway In Chicago announced today that the individual tickets for the National Tour of THE BOOK OF MORMON, winner of nine Tony Awards including Best Musical, will go on sale tomorrow, July 12. Ticket prices range from $25.00 to $125.00 with a select number of premium seats available. THE BOOK OF MORMON will play 8 performances at Broadway In Chicago's Cadillac Palace Theatre (151 W. Randolph) from September 10 through September 15. Individual tickets will be available at www.BroadwayInChicago.com. Tickets for groups of 10 or more will be available by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it..

THE BOOK OF MORMON features book, music and lyrics by Trey Parker, Robert Lopez and Matt Stone. The Broadway production is directed by Parker and two-time Tony Award winner Casey Nicholaw and choreographed by Nicholaw. The tour is directed and choreographed by Jennifer Werner based on the original Broadway direction and choreography. Set design is by three-time Tony Award winner Scott Pask, costume design is by Tony Award winner Ann Roth, lighting design is by five-time Tony Award winner Brian MacDevitt, sound design is by two-time Tony Award winner Brian Ronan, and hair design is by Josh Marquette. Orchestrations are by Tony Award winner Larry Hochman and two-time Tony Award winner Stephen Oremus. Music supervision and vocal arrangements are by Stephen Oremus. Casting is by Carrie Gardner.

Since opening on March 24, 2011, THE BOOK OF MORMON has become one of the most successful shows in Broadway history, breaking the Eugene O'Neill Theatre house record more than 50 times. In addition to nine Tony Awards including Best Musical and the Grammy for Best Musical Theatre Album, THE BOOK OF MORMON won five Drama Desk Awards including Best Musical, the NY Drama Critics Circle Award for Best Musical, the Drama League Award for Best Musical and four Outer Critics Circle Awards including Best Musical.

The West End production opened in February 2013, winning four Olivier Awards including Best New Musical, and breaking the record for the highest single day of sales in West End history. The first-ever UK and European tour launched in Manchester in June 2019, winning 'Best Theatre Show' at the Manchester Evening News City Life Awards before touring throughout the UK and Europe.

THE BOOK OF MORMON has been performed on three continents and has won over 30 international awards. The musical has smashed long-standing box office records in New York, London, Melbourne, Sydney and in cities across the U.S. and the world.

The Original Broadway Cast Recording for THE BOOK OF MORMON, winner of the 2011 Grammy Award for Best Musical Theater Album, is available on Ghostlight Records.

NETWORKS PRESENTATIONS (Producer) is an industry-leading producer of touring theatrical productions, committed to delivering quality entertainment to audiences worldwide for more than 25 years. www.networkstours.com

For more information, visit thebookofmormontour.com 

PERFORMANCE SCHEDULE

Tuesday, Sep. 10 at 7:00 PM

Wednesday, Sep. 11 at 7:00 PM

Thursday, Sep. 12 at 7:00 PM

Friday, Sep. 13 at 7:30 PM

Saturday, Sep. 14 at 2:00 PM

Saturday Sep. 14 at 7:30 PM

Sunday, Sep. 15 at 1:00 PM

Sunday, Sep. 15 at 6:30 PM

ABOUT BROADWAY IN CHICAGO

Broadway In Chicago was created in July 2000 and over the past 24 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 BroadwayPlayhouse at Water Tower Place and presenting Broadway shows at the Auditorium Theatre.

For more information, visit www.BroadwayInChicago.com.

Follow @broadwayinchicago on Facebook, Instagram, and TikTok  #broadwayinchicago

It’s often quoted in reviews that we are unworthy of such beauty or splendor the arts and humanities afford us. The turn of phrase elicits images of Wayne and Garth of Wayne’s World bowing at the feet of Alice Cooper, or a dashing Bridgerton man dropping to a knee at the feet of a lithe debutante to profess his unworthiness of her affections. But in a world that increasingly takes more and more from us, we mere mortals, I challenge that we are worthy. We are worthy of beauty, of art, of the humanities. We are worthy to see the amalgamation of when talented artists bring a work of fiction to a stage, to hear clever prose intermingled with catchy musical numbers, and be visually wowed and transported out of our reality, if only for a few short hours. We are worthy of magic. And magic is precisely what Cadillac Palace Theatre is granting us in Death Becomes Her, the musical, now playing through June 2nd.

(l to r): Megan Hilty (Madeline Ashton), Jennifer Simard (Helen Sharp)

Death Becomes Her, hailed as musical comedy revitalized, is a new musical adaptation based on the 1992 Universal Pictures movie of the same name. When a novelist loses her man to a movie star and former friend, she winds up in a psychiatric hospital. Years later, she returns home to confront the now-married couple, looking radiant. Her ex-husband's new wife wants to know her secret and discovers that she has been taking a mysterious, magical potion which grants eternal life to the person who drinks it. The actress follows suit but discovers that immortality has a price in this supernatural, dark comedy. Producer and writer Marco Pennette transformed the play for the theater, which is directed and choreographed by Tony-nominated Christopher Gattelli. Tony Award nominees Jennifer Simard and Megan Hilty take the lead roles as Helen Sharp and Madeline Ashton, the former friends competing for the same man’s affection and finding a solution that is simply to die for. Renowned stage actor Christopher Sieber and millennial’s goddess Michelle Williams of Destiny’s Child round out the cast as Dr. Ernest Menville and Viola Van Horn (que thunder and lightning). It’s a dark comedy essential to add to any playbill collection.

Christopher Sieber (Ernest Menville)

Few Broadway shows, let alone any play, have had such an illustrious reception in Chicago. The gays, the theys, girlies young and old, allies and kings all donned their best summer theatre attire to attend last night’s performance, all dutifully in their seats the moment the play started with a literal CRASH of magenta-hued thunder. Lightning struck and we were all worthy to be transported to the magical world of New York City to follow the story of best frenemies Madeline Ashton and Helen Sharp. For the entire run time of 2 hours and 30 minutes (with a 15-minute intermission), Chicagoans were treated to an artistic cornucopia for the senses. The live orchestra playing catchy tunes, lavish scene and stage designs, alluring and dramatic costume designs, the illusion and fight sequencing, the lighting, the makeup, the sound, the dancing and musical arrangements, the orchestration, every single solitary artistic element left the audience spellbound and awestruck. Brought to life with the incredible talents of the four main cast members, supported by an inclusive, talented, and drop-dead gorgeous ensemble cast, Death Becomes Her is sure to be a powerhouse on the Broadway circuit for decades to come.

The cast of Death Becomes Her

In addition to the production quality and value delivered, what makes this adaptation so flawless is the story itself. The elegant-gothic motifs in Death Becomes Her are timeless and hold up in 2024 just as well as it did in 1992; beautiful women feeling the pressure of unrealistic societal beauty standards and attempting to defy the natural order of aging, friends as fierce rivals and competitors, love triangles, and the desire to remain as we are, to stop time. While Death Becomes Her might not be able to defy gravity, it does stop time for a blissfully fun three hours. And that is pretty damn magical.

Balanced with witty banter, clever one-liners, raunchy humor, and exceptionally timed comedic delivery, Death Becomes Her is exactly the realistic escapism we need in our chaotic world and one we are all supremely worthy to behold. The musical comedy is now playing at The Cadillac Palace Theatre (151 W Randolph St, Chicago) through June 2nd. Get your tickets today before they magically disappear.

As someone who has seen Tchaikovsky’s timeless holiday classic, The Nutcracker, performed many times over, I wasn’t quite sure what to expect last night at the Cadillac Palace’s presentation of The Hip Hop Nutcracker.

But after experiencing the grandeur and soaring beauty of Tchaikovsky’s magical musical tale of a young girl and her Nutcracker prince reimagined as a modern-day love story set in a gritty urban backdrop and performed by a very talented and athletic ensemble of hip hop dancers, I was completely sold.

Yes, there still is Maria-Clara and her Nutcracker prince, the Mouse King and his gang, and the mysterious Drosselmeyer cast as a magical toymaker, but under the skillful direction and choreography of Tony and Olivier Award-nominated Jennifer Weber, Tchaikovsky’s Nutcracker is completely turned on its head – figuratively, and to be honest, literally.

Rather than the breathtaking leaps and twirls of ballet dancers, the audience was riveted by the gravity-defying breakdancing moves with performers springing from one-handed handstands to another and then spinning on their heads. The choreography was so cleverly intertwined with Tchaikovsky’s familiar orchestration that you could almost imagine that he actually intended his famous opus for hip hop.

The tone of the evening was set by special guest MC Kurtis Blow, one of hip hop’s founding fathers, with a brief homage to this genre’s 50^th anniversary. Along with DJ Boo, a New York-based performance DJ, Blow masterfully invited the audience to sing and dance along as he moved through a mix of hip hop classics through the years. The audience loved it.

In this retelling, Maria-Clara (Halima Dodo) is upset by her parents’ constant bickering during the annual uptown holiday street party. Drosselmeyer (Tumelo “Melo” Khupe) appears, bringing magical toys to the party and introducing Maria-Clara to a street vendor (Anthony “Omen” Cabrera) selling roasted nuts, appropriately called the Nutcracker. The party breaks up, and while Maria-Clara is on her way home, she runs into the menacing Mouse Crew. Aided by a pair of magical red sneakers hanging on a lamp pole, the Nutcracker springs to her defense and the two enjoy winter’s first snowfall.

Drosselmeyer returns to magically take Maria-Clara and her Nutcracker back in time to the Land of Sweets nightclub, where the couple witness the New Year’s Eve revelers showing off the dance styles of that time. It’s then that Maria-Clara realizes that she is witnessing the night when her parents first met and fell in love. She is overcome by their love, and when they return to present day, Maria-Clara and the Nutcracker – with a bit more magic – help her parents reconcile.

The story is brought to life not only through the performers’ incredible hip hop dancing and choreography, but also by their amazing acting ability. Through their gestures and facial expressions, the ensemble brought the audience along into the story.

For me, one of the evening’s highlights was the powerhouse violinist Marissa Licata, who introduces the familiar opening strains of The Nutcracker and then appears strategically throughout the performance to move the musical narrative forward. A star soloist, she has appeared with the likes of Alicia Keys, Ben Harper, Jethro Tull, H.E.R., Ringo Starr, and Gloria Estefan, to name a few.

The set design was minimal, but skillfully done with a huge video cast on the stage’s backdrop. We’re taken right into the street scene, walk into Drosselmeyer’s toy store, and then cast back into time appropriately via a time-traveling subway, all through the magic of video. At first, the scenes and costuming are all cast in shades of black and white with only Drosselmeyer’s magical touch in red. But when we go back in time, the past comes to life in a spray of colors.

The Hip Hop Nutcracker is only at the Cadillac Palace for a limited engagement through Dec. 17, but tickets are still available. For families and children of all ages, this is a wonderful introduction to The Nutcracker, and even for those well acquainted with this holiday tradition, The Hip Hop Nutcracker is an imaginative and exuberant retelling of this classic worth seeing.

As MC Blow told the audience, “I’m sure Mr. Tchaikovsky would enjoy this performance.” I quite agree. 

Phone rings, door chimes, in comes Company! The new, gender-swapped revival, that is.

Known more for his fully scored, more epic musicals like Sweeney Todd and Into the Woods, Stephen Sondheim packs a big punch in this unconventional little musical about the dichotomy between single and married life — and it’s as fresh and funny in the 2020s as it was when it premiered in 1970.

Company is hilarious and moving in equal measure. It’s human and messy, yet gloriously refined through Sondheim’s music, lyrics, and storytelling.

Arguably the first musical surrounding a concept instead of a plot, Company opens a Pandora’s box exploring all the trade-offs between being married and being single. The songs and scenes detail the pros and cons of both marriage and bachelorhood, with everything tied together and grounded through the character of Bobbi — played with charisma and vulernability by Britney Coleman — the lone bachelorette in a sea of partnered-up friends, who’s about to turn 35 and is still waffling over what she wants out of life.

The North American Tour of COMPANY. Photo by Matthew Murphy for MurphyMade

In the 1970 version, Bobby is a bachelor. In this gender-swapped revival, which premiered in London’s West End in 2018 and on Broadway in 2021, Bobbi is a bachelorette. Both versions are entertaining, enlightening, and have insightful things to say about love. While the 1970 version was, undoubtedly, ahead of its time, the revival brings a modern touch — and a slight Alice in Wonderland flair — that connects the characters to today’s audiences.

The topic of, or should I say battle between, singledom versus settling down is endlessly mineable. Bobbi likes being single because it’s carefree. But after spending time with her married friends, she wonders if she’s missing out on something. Then again, after seeing her friends’ seemingly happy relationships hit rough patches, Bobbi appreciates again the merits of being single.

There’s a song at the top of the show called “Sorry/Grateful”, sung by Bobbi's married friend Harry, explaining how he views marriage. “You’re always sorry / You’re always grateful / You’re always wondering what might have been / Then she walks in”. It’s a wistful, reflective number that speaks to the dissatisfaction we’re apt to feel no matter what side of the fence we’re on.

Derrick Davis as Larry, Judy McLane as Joanne and Britney Coleman as Bobbie in the North American Tour of COMPANY. Photo by Matthew Murphy for MurphyMade

The ensemble is strong in this production. The characters of Bobbi’s married friends carry the show as much as Bobbi does. Their conversations and quips about relationships show the true, full, colorful spectrum of married life. The scenes of Bobbi chatting with her friends feel like one-act plays (and, in fact, they kind of are; Sondheim took one-act plays by playwright George Furth and partnered with him to create Company) and show the upsides, downsides, and ridiculous sides to partnering up with someone for life.

Some of the better-known songs include the frantic “Getting Married Today”, sung at breakneck speed by the hilarious Matt Rodin, while experiencing cold feet before his wedding; the instantly recognizable “Ladies Who Lunch”, the 11 o’clock number made famous by Elaine Stritch in the original Broadway production and sung with conviction by the fabulous Judy McLane on this tour; “Another Hundred People”, which serves as a love letter to the chaos of social life in New York City; and “Being Alive”, where everything Bobbi has learned throughout the musical is elegantly summarized.

Don't miss this clever, unique, and truly funny production of one of Sondheim's best.

Company is playing at the Cadillac Palace Theatre at 151 W Randolph St. through November 12, 2023. Tickets at the box office or at BroadwayinChicago.com.

The first movie I remember seeing in a movie theater was John Huston’s 80s film version of Annie — the one with Albert Finney as Daddy Warbucks and Carole Burnett as Miss Hanigan. Burnett’s drunken spinster entertained little me nearly as much as the film’s climax high atop the steel girders of a New York City bridge terrified me. The story revolves an orphan (Annie), an eternal optimist who tries to make the best of every situation while living in a poorly run orphanage (thanks to the loathsome Miss Hannigan) hoping that someday a nice family will take her in. Tough, clever and ever-persistent, Annie soon becomes an inspiration and a sign of hope to the other orphans. When millionaire Daddy Warbucks enters the picture, life for everyone quickly turns in a new direction.  

Annie first entered our hearts from Day One of its opening on Broadway in 1977. And all these decades and movie versions and various stage productions later, it’s the songs of this show that have still stuck with me. My youngest was a toddler when the latest film version was released a few years back, and she quickly became enamored of Charles Strouse and Martin Charnin’s songs, too—some of her first words were stammered while she danced to “It’s the Hard Knock Life.” So, we were both excited for the new production of the Tony Award-winning musical Annie at the Cadillac Palace Theatre. And, like so many Broadway in Chicago productions, this one does a stellar job of putting on a beloved show full of song after song after song that are, as the kids would say, real bangers. Skillfully directed by Jenn Thompson and wonderfully choreographed by Patricia Wilcox this production checks all the boxes and then some. And Director Jenn Thompson knows a thing or two about Annie having played the role of "Pepper" in the original Broadway prodution at age ten.

(L to R) Krista Curry, Nick Bernardi and Stefanie Londino in the National Tour of ANNIE. Photo Credit_ Matthew Murphy and Evan Zimmerman for MurphyMade

And, like so many productions of Annie, it’s the kids who make this one special. Emulating the lead character to near perfection, Ellie Pulsifer as Annie looks the part, and charms with the show’s opener, “Maybe” (a song I’ve lullabied my kids with for two decades), but like a pro she holds back until her first time through “Tomorrow”—did I mention this show is full of great songs? —when she lets loose, the applause matches her effort.

The other orphans had set the bar for Pulsifer already, their orphanage dormitory stomp “It’s the Hard Knock Life” and its reprise getting the audience excited from the beginning. My daughter and my beloved Molly shine here, played by Bronte Harrison, but the rest of the children are wonderful, too. They’re only matched when Addison, the rescue dog playing Sandy, arrives onstage. Sandy is trained by Tony Award Honoree William Berloni whose skillset was also utilized in A Christmas Story and Legally Blonde.

The adults in the show ain’t half bad, either. Like most national tour companies, they’re really, really good, and the large ensemble nicely populates Depression-era New York. Stefanie Londino as Miss Hannigan fills the Cadillac Palace Theatre with her voice during “Little Girls,” and shows great chemistry with Nick Bernardi’s Rooster, her ex-con brother, on my favorite, “Easy Street,” along with his squeaky moll, Lily, played by Krista Curry.

And Christopher Swan’s Daddy Warbucks is all heart — both for Annie and for his hometown, especially on “NYC,” a song that hasn’t made it into every production, but should, as it’s as good as the others I’ve already listed.

So, if you’re a fan of this beloved show, of its beloved characters, and of these beloved songs that have become Broadway standards, make your way to the Cadillac Palace Theatre for Annie, now through March 19th. For tickets and/or more show information, click here.

I doubt I’m alone when I say that Jesus Christ Superstar is one of the greatest musical productions of all time. It’s easy to love. It has all the elements that make a potent stage experience from marvelous music to compelling leads to an engaging storyline to explosive dance numbers. When it was first staged fifty years ago, the brilliance of composer Andrew Lloyd Weber and the on-target lyrics of Time Rice coupled with the performances Ted Neeley (Jesus), Yvonne Elliman (Mary Magdalene) Carl Anderson (Judas) and a talented ensemble were nothing short of magical. The edgy production shot its way through the 1970’s with critical acclaim where it still packs theaters today with new generations of vocally gifted actors taking on the classic roles. The musical, which was first staged in 1971 was inspired by the 1970 album with Deep Purple’s Ian Gillan singing the part of Jesus.

As decades have since flown by so have the different variations of this staged phenomenon. And really, it's as simple as this – for a musical production of Jesus Christ Superstar to be successful – and memorable, the show must have a strong Jesus, Judas and Mary. The current touring production of Jesus Christ Superstar, which is in the midst of a two-week run at Chicago’s Cadillac Palace, has just that. Aaron LaVigne is a wonderful choice to fill the sandals of Jesus. His guitar-playing presence is warm while strong, his vocals gentle while powerful, peppered with impressive range. Omar Lopez-Cepero as Judas must have been an easy casting choice as he is one who cannot only belt with the best of them, but effectively takes us down the dark road travelled by Jesus’ skeptical right hand. Jenna Rubaii rounds out this trinity of talent with an amazing performance that theatregoers will long remember. The performances of these three carry the show with such ease and command that it’s talented ensemble can freely do their thing to make this an incredibly stunning production Jesus Christ Superstar fans will not want to miss.

The musical centers around the final days of Jesus that lead to his crucifixion. As his popularity rises with the large number of people who see him as the Messiah, enemies emerge from both church and state that want him out of the picture. This period deals with the many complexities and human emotions, that he may have experienced, but also focuses on Jesus’ complicated relationship with Judas and Mary.

The music is timeless, and the musicianship is nothing short of incredible thanks to an inspiring performance by LaVigne (especially, during his rendition of “Gethsemane” – Wow!), and a flurry of praise-worthy vocal performances including Rubaii’s show-stopping “I Don’t Know How to Love Him” and Lopez-Cepero’s “Damned for All Time”.  

Outside of its main characters and its energetic, well-choreographed ensemble, Jesus Christ Superstar also gets a boost with several other standout performances. Tommy Sherlock is outstanding as Pilate while Paul Louis Lessard dazzles in the always crowd favorite sequence of “King Herod’s Song”, a number where the colorful king mockingly tests Jesus’ restraint. Alvin Crawford as Caiaphas leads the disturbed Pharisees with booming authority. 

In all, this production, holds its own and then some while maintaining the integrity of the hit musical staged fifty years ago. With admirable direction by Timothy Sheader and brilliant choreography by Drew McOnie, this production is topped with a uniquely crafted set and a commanding orchestra that compliments so well the stage musicians scattered about.

But let’s get back to Jenna Rubaii. As a vital component to making this touring show the smash that it has been over the past few years, it takes a special someone to pull off the role of Mary to the extent where not only audience members are clearly captivated by each note she sings, but to also have the ability to fully immerse us into this loving, caring dynamic between herself and Jesus. Within the first couple bars of “Everything’s Alright” it was apparent this production really found something in Jenna Rubaii.

Jenna Rubaii in the North American Tour of 'Jesus Christ Superstar'. Photo by Matthew Murphy, Evan Zimmerman - MurphyMade.

After such a wonderful performance, we wanted to find out a bit more about Jenna and had the chance to toss a few questions her way.

Buzz Center Stage: It seems like the cast is really tight and works well together. What is the chemistry like off stage? 

Jenna Rubaii: We are like family. Most of us have been a part of this since 2019. We were brought into a show where the subject matter is really deep and challenging and the show itself is really demanding and requires an emotional presence - vocal and physical presence. Beyond that, I feel that we as a company are all really close because we know how important this piece is, how much weight it carries with it being the 50th anniversary. I think artistically, it already meant so much to every single one of us. But as you see in this production it is very much an ensemble piece. And the mob mentality… and I’m thinking that everyone being a part of that just amplifies the importance that every single person feels. And I think that off stage, as artists and individuals, that’s an important weight to carry. So, I think that we as human beings, we’ve been so supportive of each other on and off stage. And because of what we have gone through together- Covid - this show was really the only constant in our lives for the past three years and has made us even stronger. I think, I hope, that is clear to the audience. We had that unique experience of going through that really challenging time and the subject matter really amplifies that a bit.

Buzz Center Stage: The work of Andrew Llyod Webber is timeless…. Since you mentioned the mob mentality in this production, how do you think Jesus Chris Superstar is still relevant today - with everything that has been going on…  Is this show still as relevant? 

Jenna: Absolutely. People are always looking for a leader. Someone with some sense of direction. Someone to look to. Something to look to. Obviously, you get that with Jesus. But we have also talked about how much community is too much community? Communities are always bringing people together, but what happens when there is too much of that, it can be destructive as well. So hopefully that point gets across in our production. And obviously with the climate of everything around the world, this piece really stands true no matter if you are religious or not. 

Buzz Center Stage: About yourself… How did you start out? And can you share how your journey as an artist took you to your role in an international production of Jesus Christ Superstar? 

Jenna: I grew up in Clearwater, Florida. When I was six years old, I auditioned for an all girls song and dance troupe. It was kind of like Glee meets the Mickey Mouse Club. From six years old to eighteen - for twelve years of my life - I had the unique opportunity to perform about 30 shows a year for different corporate conventions, events, we even sang for two presidents. In my hometown, there is a lot of spring training, so I sang the National Anthem all the time for sporting events. I grew up wanting to be a pop star - and we could use handheld mics in this show. It was really fun. I didn’t get into theater until after high school. Then I decided to go to the University of Miami for college - the school for theater. After school, I immediately ended up booking the national and international tour of Green Day’s American Idiot. And I actually have a picture and need to do a side-by-side screenshot because we performed at the Cadillac Palace about 9 years ago. It’s fun to revisit some of the places that you have already been on tour. So, I did American Idiot and then I booked another show that took me abroad for a while. So, I've done a handful of tours. And I ended up booking Groundhog Day and made my Broadway debut with that. And something else that is a fun little mention is that my first introduction to musical theater was performing in the children’s chorus of Joseph and the Technicolor Dreamcoat - when that touring company came through my hometown. So, I’ve come full circle with Andrew Lloyd Webber - different biblical musicals. 

Buzz Center Stage: Wow. So, the stage is no stranger to you. You have lived much of your life on the stage. You mentioned the holding of the microphone in this production - this was an interesting choice for the show because little mic pieces are always used these days. But I didn’t miss it. I loved that they had certain characters holding the mic. It presented way more authority and more of a rock atmosphere. And I loved that touch by the director.

Jenna: Thanks! It is definitely an avenue of power. When somebody has the mic it’s an action of “this is my time, this is my story.” Of course, I think the most obvious choice for that is they wanted to bring the rock concert element to it. Everyone has opinions about the mic stands the microphones, but I feel that without them it would just feel like another theatrical piece. Whereas this blends the rock show vibe into the production. 

Buzz Center Stage: Were you a fan of the show before you were cast? 

Jenna: Of course! To be honest, I only knew the Mary material and I wasn’t super familiar with the rest of the show. But my dad is a huge fan and knows every single lyric to the show. I grew up listening to “I Don’t Know How to Love Him”. Of course, you don’t realize how much the show has impacted people. The show is 50 years strong. There was a time at the beginning of the tour when I started reading comments on Facebook and I realized just how many people were saying “this is my favorite show of all time. This is my favorite music”. And that is really when it hit me on how important a show like this is. 

And you don’t really get the opportunity to do that kind of stuff all the time. It’s really special. 

Buzz Center Stage: I’m sure your dad was thrilled when you got the role. 

Jenna: Yes! He’s been to the show many, many times. 

Buzz Center Stage: Yvonne Elliman, who plays Mary Magdalene in the original production, was she an influence? Did you try to interpret the role in your own way? How did you attack the role? 

Jenna: I try very hard to not watch or listen to other productions because I don’t want to feel like I’m copying anybody. Also, in this particular, the way Timothy (Sheader), our director, approached this production - he very much did not want us to play with any idea of who these people were. He did not want us to put a hat on it and say, “this is what I think Jesus is like,” or “this is what I think Mary is like.” So, we really approached it by bringing ourselves the piece. That made it really exciting as a performer because you don’t really get tired of the piece. But it’s also really challenging because you are being asked to bring yourself - however you are - to the table authentically every single night. And that is difficult because you still have to get the same story across and have the same intentions with the song, but you are not the same person every day. It was a very organic “bring yourself” approach. It’s a weird challenge and in a strange way makes it easier because I’m not trying to be someone else. I’m simply being me trying to convey the intent behind the song. 

Buzz Center Stage: I felt your performance was absolutely stunning. I really enjoyed your voice and your take on Mary. 

Jenna: Thank you! I really appreciate that! 

Buzz Center Stage: Ok, final question. Jesus Christ Superstar is a big deal, especially to someone like me who puts it in the top musicals of all time - What are you thinking for after this? What are your aspirations beyond Mary? 

Jenna: Oh gosh! It is a big question. I think, and I think I can speak for most of my cast members too, that this show really fulfilled me in an artistic and personal way that I hope I can continue to do more art like this. The production feels more like an art piece than a theater piece. I always want to be part of something that is thought provoking – that is really human - really brings an aspect of humanity to the table. And something that is new. I would love to be able to work on a new musical. Something with a lot of meat in it - complex and interesting. And I think that is what most of us really want to be a part of. Something that challenges you in that way and fulfills you in that way and that can also translate to audiences and make them think too. So, nothing specific, but that is what I hope to put out into the universe. But the goal is to find something that is challenging for you, exciting for you, and that fulfills you in whatever way you personally need. Everyone has their own artistic journey.

Buzz Center Stage: That sounds great. Well said. You really seem to seek out challenges. And you have accepted and met the challenge in this production as Mary. The audience can just feel it - that you aren’t just up there doing the show, but that there is a passion within you projected throughout the house

Jenna: Thank you. 

Buzz Center Stage: Thank you for talking! 

*Running through July 31^st, this is a well-crafted, must-see musical production that longtime fans and Jesus Christ newbies are sure to cherish. For tickets and/or more info click here.

So, I went into Once on This Island, currently playing at the Cadillac Palace Theatre, knowing nothing of the show at all. Nothing. The above title, I took that from one of the songs that’s still stuck in my head — “Some Girls,” sung beautifully in this production by Tyler Hardwick’s Daniel.

But it’s the sentiment of that song, that some girls (or some things, like Broadway musicals, perhaps) are extraordinary, special, better than the status quo. As this production began, I wouldn’t have guess that it would take its place in the really good shows I’ve seen, or the really good ones I’ve had the privilege to review. But you know what? By the end of the show, it had.

You see (and my 16-year-old daughter, a theater geek in her own right, agreed with me as soon as the houselights went on), this show’s a grower. Before it began, the set held promise — audience members seated on either side of the stage itself, various sand and detritus hinting at the Caribbean island setting to come, what seemed to be cast members milling about.

But, just as 2018’s Auditorium Theatre touring production of The Color Purple found a stripped-down production overwhelmed by a cavernous locale, this production at first seemed to be swallowed up by the size of the Cadillac. The set was spread out over the stage, sure, but the sound was muddled and devoured by the site. This problem seemed to get better as the show went on — I’m not sure if my ears just adjusted or if the cast did the adjusting.

Or maybe it’s that, as I said, the show’s a grower. Because the cast and the songs they sang seemed to get better as it went on. A show that had my daughter’s head nodding to stay awake at first later found it nodding along to the story and the tunes. This being a one-act performance, the lack of an intermission worked wonders, not allowing the booze-and-bathroom break to kill the slow-building momentum. And build it did.

The story’s your standard girl-meets-boy-but-stuff-gets-in-the-way sort of plot that Disney’s mined for decades. And this story would totally fit into the Disney Princess pantheon if Disney’s ever looking to head to the Caribbean for anything other than Johnny Depp in a pirate getup. Told as the story (to a young cast member and the audience members seated on the stage’s edges) of an orphaned and impoverished island girl (Ti Moune played by Courtnee Carter) who falls in love with a rich boy (the afore-mentioned Daniel, played by the talented Hardwick), the best parts go to the supernatural characters who populate the fairy tale.

Kyle Ramar Freeman lords over the stage whenever he’s on it as Asaka, Mother of the Earth. Jahmaul Bakare isn’t far behind with his water god. Just as the land of Oz’s Glinda is overshadowed by the cool costumes and witchcraft of her more wicked counterparts, Cassondra James’ love goddess Erzulie isn’t as much fun as the other deities, though James’ voice and presence make up for what her character lacks. But throughout the show, I was enchanted by the fourth god, Papa Ge, the demon of death. The actress who played Papa Ge was done up all ratty and punk-rock, but her physicality and beauty and presence were evident, not to mention her musical chops. Only afterward did I look in the playbill and learn that this Papa Ge’s played by Tamyra Gray, my all-time favorite television singing competition entrant (she was on the very first season of American Idol, back when Kelly Clarkson won, back before my teenage date for this show was even born). Needless to say, even if she’s playing a hellish harvester of souls, Tamyra’s still got my heart!

And, it seemed, by the end of the show, the cast and the story they told and the songs that they sang had won over the hearts of the audience, too. The songs had gotten better, the sound had settled down, and the actors and singers had warmed up and settled in, giving the Cadillac Palace’s audience a good time, which I’m sure they’ll keep on doing in this production Lynn Ahrens and Stephen Flaherty’s Once on This Island, playing now through February 2.

You know it’s that time of the season when Chicago gets blitzed by one holiday production after another. And, while many of them are well done and thoroughly entertaining, there are just a few that really stand out each year. This year, one of them is ‘Irving Berlin’s White Christmas’ now playing at Cadillac Palace on a limited run that holds its final performance on December 15th. So, don’t delay and make your way over to Cadillac Palace before this enchanting, warm and dazzling production packs up for the winter.

The story begins when two talented army buddies, Bob Walace (David Elder) and Phil Davis (Jeremy Benton), entertain the troops with song and dance numbers during World War II. They proudly serve under gruff General Waverly (Conrad John Schuck) who is all business but hints a liking towards the two and their routines. After the war, Bob and Phil take off to superstar status, appearing regularly on the Ed Sullivan show and selling out houses wherever they perform. But they still feel they are in need of a sister act to keep their performance fresh. Enter Betty (Kerry Conte) and Judy Haynes (Kelly Sheehan) – two attractive and gifted singer/hoofers that are looking for their big break. A plan to unite seems to go into action when Bob and Phil hear about General Waverly’s financial woes at the lodge he had purchased years ago called the Vermont Inn. The guests just aren’t coming in like they used to. Through a bit of finagling, the four head out to Vermont to put on a show that is sure to attract guests. They even invite a team of dancers to join them for this holiday extravaganza that will be performed – in a barn.

Concierge Martha Watson (Lorna Luft) is there to greet them as they arrive and soon the plan goes into action. Young Susan Waverly (Emma Grace Berardelli and Kyla Carter alternate) also volunteers to help – and even perform if need be. The fun is just getting started.

The cast is star-infused with Conrad John Schuck (M.A.S.H., Star Trek IV and VI, Curse of the Jade Scorpion and many other TV and Broadway productions) impressively taking on the role of a General who is having a tough time relating to the world after his Army days are over. Lorna Luft (daughter of Judy Garland and Sid Luft) is terrific as inn concierge Martha Watson and is both extraordinary with her vocal talent and her comedic timing.

Jeremy Benton and David Elder dazzle in 'White Christmas' at Cadillac Palace through December 15th

While Schuck and Luft are certainly big plusses, the production’s greatest success might be in its casting of Elder, Conte, Benton and Sheehan as our four leads. David Elder (I couldn’t stop thinking of Ken Berry circa early 1960’s) and Jeremy Benton are like peanut butter and jelly and highly believable as two -long-time best buds. At the same time, Conte and Sheehan are fun to watch together, but when the four are together, it’s like dynamite. They can dance, they can sing and they inject the perfect amount of comedy into each role. Though just about every song and dance number is a highlight, Conte’s “Love, You Didn’t Do Right by Me” is sizzling while Luft’s “Let Me Sing and I’m Happy” is highly enjoyable and showcases her adept singing talent. The enjoyable, high quality musical numbers are endless as favorites “Blue Skies,” “How Deep is the Ocean” and, of course, “White Christmas are performed to perfection. Randy Skinner’s choreography is tough to beat, each routine as impressive as the last, especially the big tap dance numbers.

Produced by Work Light Productions, the creative team is unstoppable with scenic design by Anna Louizos, scenic adaptation by Kenneth Foy, lighting design by Ken Billington and sound design by Keith Caggiano. This production is full of surprises up until its very last scene and is a tremendous ode to the 1954 classic film that starred Danny Kaye, Bing Crosby, Vera-Ellen and Rosemary Clooney.

Highly recommended as the perfect pre-Christmas celebration.

At Cadillac Palace through December 15th. For more show information, visit www.BroadwayinChicago.com.

If you are a passionate fan of the original "Phantom of the Opera" musical, its sequel "Love Never Dies" will surely peak your curiosity and is a 'must see'.

The continuation to one of the greatest love stories of our time takes place in 1907, ten years later after the Paris Opera House fire. The Phantom fled at that time, escaping tragedy, but not before releasing Christine and Raoul, so moved by his love for her. Christine now resurfaces after receiving an invitation to travel from Paris to make her singing debut in New York and the Phantom is determined to win back her love. After so many years have gone by, we finally see a life changing reunion between the Phantom, Christine and other ghosts from the past.

Magnificently directed by Simon Phillips, the stunning musical includes a new set and costume designs by Gabriela Tylesova, choreography by 2011 Astaire Awards winner Graeme Murphy, lighting design by Nick Schlieper and sound design by Mick Potter. Together they produce what can be described no less than an enchanting theatre experience that is as haunting as it is seductive.

A handful of characters return from the first musical, including the Phantom portrayed with fierceness by Cardar Thor Cortes who was born in Iceland and is making his debut in the United States in this performance. Cardar Thor Cortes comes directly off the heels of a successful run of Love Never Dies in Hamburg, Germany. Christine is beautifully acted by Chicago native Meghan Picerno. The music and lyrics created by Andrew-Lloyd-Webber and Glenn Slater seem personally written for these two amazing singers who held the audience in awe.  Other return characters were Raoul (Sean Thompson), Madame Giry (Karen Mason) and Meg Giry (Mary Patterson).

The musical number impress one after another and are in many ways as powerful than those in the original “Phantom”. "Once Upon Another Time" will touch your heart while offering meaning to the story line of this play. Meghan Picerno, (Christine) and Gardar Cortes mesmerize the audience singing beautifully together, their words enhanced by every powerful note. "Love Never Dies", without question reveals Meghan's emotionally charged and extremely talented voice.  

Applause, applause and more applause...

“I have the great joy of being able to say that I think this production is probably the finest one I could ever, ever hope for,” said Andrew Lloyd Webber just minutes after seeing the musical’s first run through.

One of the play’s nice surprises was 13-year-old Casey Lyons native of Lake Forest who was a joy to watch sing and perform. Casey is a natural and has a wonderful gift of song.  

The Coney Island atmosphere freed the stage up to every kind of performer singing and dancing together to present a mystical, delightful and creative wonderland. The fluid stage changes were excellently done and the orchestra gets an A-plus in every way.

Not to give the plot away, I can say the story line is unique, a little unexpected, and keeps you wondering until the very end. "Love Never Dies" is well worth attending.  

“Love Never Dies” has a running time of two hours and twenty-five minutes with one intermission and is being performed at Cadillac Palace Theatre through March 4th. For tickets and/or more show information, visit www.BroadwayInChicago.com.