Displaying items by tag: Theater

Broadway In Chicago and Kokandy Productions announced that the critically acclaimed revival of the 10-time 2025 Jeff Award–nominated musical JEKYLL & HYDE will make its Broadway In Chicago debut at the Broadway Playhouse at Water Tower Place (175 E. Chestnut St.), September 8—October 25. The engagement follows last year’s completely sold-out and extended Chicago run — which marked the musical’s first staging in the city in more than 15 years. Directed by Producing Artistic Director Derek Van Barham with music direction by Nick Sula and choreography by Brenda Didier.

JEKYLL & HYDE will be included in the next Broadway In Chicago season package, on sale this April. Groups of 10 or more may purchase tickets now by emailing This email address is being protected from spambots. You need JavaScript enabled to view it. or calling 312-977-1710. See below for additional ticket and performance schedule information.

The entire original cast will return for the Broadway Playhouse run, including Jeff Award nominees David Moreland (Dr. Jekyll/Mr. Hyde), Ava Lane Stovall (Lucy Harris), and Emily McCormick (Emma Carew).

The full design team and orchestra are expected to return with all the specific elements for the Broadway Playhouse production to be announced at a later date.

Murder and chaos are pitted against love and virtue in this sweeping gothic musical.

The epic struggle between good and evil comes to life on stage in the musical phenomenon, Jekyll & Hyde. Based on the classic story by Robert Louis Stevenson and featuring a thrilling score of pop rock hits from multi-Grammy- and Tony-nominated Frank Wildhorn and double-Oscar and Grammy-winning Leslie Bricusse, Jekyll & Hyde has mesmerized audiences the world over.

Lou Raizin, President and CEO of Broadway In Chicago, said, “This collaboration with Kokandy Productions reflects what makes Chicago’s theatre community so powerful — artists and institutions working together to elevate bold storytelling and expand access to exceptional live performance. JEKYLL & HYDE is a thrilling example of the depth of talent in our city, and we are proud to bring this acclaimed production to the Broadway Playhouse for a broader audience.”

Scot Kokandy, Executive Producer of Kokandy Productions, added, “To say we are excited is an understatement. Last year’s production of JEKYLL & HYDE was the most ambitious production we have attempted to present, and we are ecstatic and honored to partner with Broadway In Chicago to bring it back this fall.”

Derek Van Barham, Producing Artistic Director of Kokandy Productions and Jeff Award-nominated Director of JEKYLL & HYDE, noted, “We were overwhelmed by the initial response to our JEKYLL & HYDE.  Clapping, cheering, standing ovations in the middle of the show — it was like being at a rock concert for everyone's favorite band. Directing this amazing cast at the Broadway Playhouse and seeing our production grow on this stage means the world to me. And that it’s returning during the Halloween season makes it a wickedly delicious treat for Chicago.”

JEKYLL & HYDE JEFF NOMINATED CREATIVE TEAM
Derek Van Barham (Director) is the Producing Artistic Director of Kokandy Productions. Directing credits include Children of Eden in Concert (Broadway In Chicago), Amélie, Into the Woods, Alice by Heart, Sweeney Todd, American Psycho, Head Over Heels (3 Jeff Awards and 2 Jeff nominations, Kokandy); Spring Awakening (Flint Rep); Rock of Ages (Metropolis); The View Upstairs (Circle Theatre); Miracle by Dan Savage, Poseidon (Hell in a Handbag); Carrie, Bat Boy, Merrily We Roll Along (CCPA/Roosevelt University). Choreography credits include Evil Dead (Jeff nomination), Coraline the Musical, Ghost Quartet and Shockheaded Peter (Black Button Eyes). He was previously named one of Windy City Times’ 30 Under 30, and one of Newcity Magazine’s 50 Players 2024. MFA: CCPA/Roosevelt University. IG: @dvbarham

Nick Sula (Music Director) is an award-winning pianist and music director, proud to return to Kokandy Productions where he served as music director for the Jeff Award-winning productions of Sweeney Todd (Jeff Award for Outstanding Music Direction), Into the Woods (Jeff Awards for Outstanding Music Direction and Orchestrations), as well as the Chicago Musical Theatre Festival. Other Chicago theatre music direction credits include: Anything Goes (Jeff nomination) with Porchlight Music Theatre; Ghost Quartet (Jeff nomination), Mary Rose, Nevermore, Amour and Coraline with Black Button Eyes Productions; Myths & Hymns, The Glorious Ones (Jeff nomination), Hello Again, La Cage aux Folles and Pippin with BoHo Theatre. As a professor of musical theatre he serves as a music director, instructor and vocal coach at the Chicago College of Performing Arts at Roosevelt University.

Brenda Didier (Choreographer) is thrilled to collaborate with Derek (DVB) for the first time and to return to Kokandy after choreographing Grand Hotel in 2018 (Jeff nomination). Direction and/or Choreography credits include work with: Chicago Shakespeare Theater, The Goodman, Marriott, Paramount, Porchlight Music Theatre, Mercury Theater, Theo and many others. Tour: Kenny Rogers Christmas Tour, Cirque Shanghai: Navy Pier Skyline Stage and productions in Atlantic City, Las Vegas and the New Victory Theatre in New York. Ms. Didier made her TV Choreography debut with T-Mobile's national holiday commercial "Home for the Holidays." She is a multiple Jeff Award recipient in both Direction and Choreography (Equity and Non-Equity wings) and Artistic Director/Founder of The Lincolnshire Academy of Dance, now in its 28th Season. "Thank you to Derek, Nick, Shane, Scot and our incredible cast, design team, band and crew! Thank you for supporting live theatre! Love to Mike, Mom, family and friends!”

TICKET INFORMATION & PERFORMANCE SCHEDULE
JEKYLL & HYDE will be included in the next season package, on sale this April. Current subscribers can add tickets to their season package when renewing by visiting BroadwayInChicago.com or calling 312-977-1717. Groups of 10 or more may be purchased now by emailing This email address is being protected from spambots. You need JavaScript enabled to view it. or calling 312-977-1710. Individual on-sale dates and performance schedules to be announced this spring.

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, visit www.BroadwayInChicago.com .
Follow @BroadwayInChicago on Facebook , Instagram , TikTok , Bluesky #BroadwayInChicago

ABOUT KOKANDY PRODUCTIONS
Founded in 2010, Kokandy Productions seeks to leverage the heightened reality of musical theatre to tell complex and challenging stories, with a focus on contributing to the development of Chicago-based musical theatre artists, and raising the profile of Chicago's non-Equity musical theatre community.

The company's artistic staff is comprised of Derek Van Barham (Producing Artistic Director), Scot Kokandy (Executive Producer), Nicholas Reinhart (Associate Producer), and Adrian Abel Azevedo & Leda Hoffman (Artistic Associates). The Board of Directors includes Preston Cropp, Scot Kokandy, Danielle Sparklin and Katie Svaicer. 

For additional information, visit www.kokandyproductions.com . 

For some, an evening of Chekhov may sound like pure misery, but Red Theater’s “The Seagull” running at The Edge Off Broadway soars. The original adaptation by Red Theater cohort Ian Mayfield imagines Anton Chekhov’s emotionally searing dramady as a chamber play. Under his direction, this faithful version is a hidden gem of this winter’s storefront theatre scene.

Though known for depressing family melodramas, Chekhov did have a sense of humor, and perhaps in no other play is his cynical wit more on display than “The Seagull”. Any production is only as good as its neurotic, self-involved Arkadina. Anne Sheridan Smith is a captivating presence in the role of the celebrated actress. She brings an amusing larger-than-life performance that’s devilish to watch. Lovelorn and constantly drinking Masha played by Magdalena Dalzell delivers cutting physicality that’s also quite thrilling.

Jamie Herb is one of the production’s strongest assets in the role of Nina. Her performance takes full advantage of the closely drawn staging. She tells entire stories with haunting gazes. Her eventual breakdown feels more disturbing than the play’s actual tragic conclusion. However, perhaps no character is as pitiful as Medvedenko the schoolteacher. Ben Murphy plays the role with a subdued quietness that’s like whatever the opposite of “golden retriever boyfriend” energy is.

Original scoring by Jonathan Hannau lends to the chamber play atmosphere and elevates the ambiance. Maggie McGlenn’s sumptuous costumes combined with Hunter Cole’s minimal staging keep the focus on the action. As the actors move in and around the space, audiences will feel personally drawn in, as if they’re a silent guest at a party.

Red Theater’s “The Seagull” is a great example of what makes Chicago’s fringe and storefront scene so exciting. While many may look to the bigger institutions like Goodman or Steppenwolf to tackle major works by important playwrights, with the right talent in place a small theater can be just as impactful, if not more in some cases. Ian Mayfield’s version spends a lot of time dissecting Chekhov’s musings on artistic forms, and that curiosity about the craft of theatre feels evident in this cast. The result is a labor of love, and exactly what you want from a good night of theatre–that you lived through something. 

Through March 15 at Red Theater at The Edge Off Broadway. 1133 W Catalpa Ave. Tickets via www.redtheater.org

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

“The story of these characters has already begun.”

When you enter the Factory Theater space for Kubrickian, you will notice that the actors are already on stage. Lights are fully up, and the three actors are moving about the stage. One is stretching, another is pacing, and another is doing a mix of the two - even throwing in some light jogging. It’s clear that the three actors are in their own world, and we are simply here to observe.

Director AJ Schwartz warns us of this soft start in the program, and so it should not be a surprise. You might find that the choice is clever for a few reasons. On one level, Zack Peercy’s play takes place in a world that is meant to feel unfamiliar. Watching the actors move about for unclear reasons and without words appropriately sets us up for what we are about to see.

On another level, perhaps Schwartz’s choice gets at the root of what Kubrickian is about. Peercy’s play is about a lot of things. There is isolation and fear. Grief and loss. Even passion and hope. However, at its core, one might argue that this story is about the relationships between the men on stage.  Schwartz sets up a window into who these characters are to each other. As Schwartz notes in the program, their story begins before we arrive. We may not necessarily understand how they got there, but perhaps that’s not the point. We as an audience receive the gift of witnessing their relationships in the present – a brief window into who they are and how they grow before they continue on well after we have left.

Peercy’s world premiere takes place in an unknown white space in which three men find themselves trapped – Chris (Taylor Mercado Owen), Danny (Rio Soliz Ragazzone), and Howard (Ben Auxier). Scenic Designer Josh Philoon appropriately creates a world that feels ambiguous and unknown. Without any clear escape from their situation, Danny and Chris have no choice but to turn to conversation for entertainment. Over the course of the story, the discussions become more intimate, and Danny and Chris realize they may have more in common than they had originally thought.

Schwartz’s ensemble is strong. Peercy’s play is quite the undertaking for all involved. Auxier as Howard moves through the play without sound or motion – simply sitting in the back as the action happens around him. Considering the chaos that ensues around him, that is no small thing, and you might find that Auxier continues to catch your eye as you wonder when there might be a shift and he finally reacts.

Because Howard does not speak, most of this play exists as a two-hander between Danny and Chris – a challenge that Ragazzone and Owen tackle with grace. We quickly learn that Chris has a deep love for Stanley Kubrick films – a genre with which Danny unfortunately has little experience. While this creates an obstacle for much of the beginning, we hit a key moment where Danny encourages Chris to share the details of The Shining. As Chris begins to open up, something shifts in their dynamic. Peercy cleverly unlocks a very specific moment in a relationship where we witness the other’s passion for the first time. As Chris shares what he finds so inspiring about Kubrick’s work, Danny starts to see him in a whole new way. Ragazzone and Owen bring a beautiful authenticity to the scene. In this pressure-cooker of a world, they create a relationship that you want to see succeed. Something to offer a small semblance of hope when it’s unclear what their fate might bring.

The stellar performances and thought-provoking script alone make Kubrickian a play worth seeing. If you are one for a puzzle, then Peercy’s story is certainly a fit for you.

RECOMMENDED

Run Time: 90 minutes without intermission

Kubrickian runs through March 15, 2026 at the Factory Theater – 1623 W. Howard Street. For tickets and information, see the Factory Theater website.

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

Lifeline Theatre today announced the cast and crew of its upcoming rock musical world premiere, LOKI - THE END OF THE WORLD TOUR, with music and lyrics by George Howe, book by ensemble member Christina Calvit, developed with and directed by ensemble member Heather Currie, running May 3 - June 14, 2026 (previews April 24 - May 2) on the Rogers Park theatre's stage at 6912 N. Glenwood Ave. Tickets ($45) at www.lifelinetheatre.com. 

Welcome to the greatest rock 'n' roll show not on Earth! LOKI arrives at Asgard, bringing chaos, comedy, and three monstrous (maybe) children. LOKI tangles with Odin, Thor, and the mysterious Freya; each with their own agenda; their own secrets—but all paths lead to one eternal question: In an us vs. them world, can we envision a new mythology? 

"After many years of work and even more years of hoping, getting to premiere LOKI - THE END OF THE WORLD TOUR at Lifeline Theatre truly feels like a homecoming," said playwright Christina Calvit. "This is a company that believes in bold literary adaptation, and this piece lets us blow the doors off mythology in the most thrilling way."

"The story may be hundreds of years old, but it plays like a warning for our time," added composer George Howe. "At its heart, it's a riotous rock spectacle. But underneath the glitter and gods, it's an exploration of how power corrupts, how fear divides us, and whether we're brave enough to imagine a new mythology."

The production features Jack Chylinski as the god Loki, with Scott Danielson (Odin), Janelle Sanabria (Freya), Peter Gertas (Baldur), Keenan Odenkirk (Thor), Kate McQuillan (Sigyn), Grace Reidenauer (Hel), Anthony Kayer (Fenris), Avery Thompson (Middy), Kelan Smith (Norn 1), Kara Olander (Norn 2), and Alek Boggio (Norn 3). Understudies are Mack Alexander, Jake Elkins, Felicia Niebel, Annalie Ciolino, and Travis Shanahan. 

The production team includes George Howe (Composer / Lyricist / Music Director), Christina Calvit (Playwright), Heather Currie (Director), Kelan Smith (Co-Music Director), Lindsay Mummert (Scenic Designer), Saskia Bakker (Props Designer), G. Max Maxin IV (Lighting Designer), Aly Amidei (Costume Designer), Emily Hayman (Sound Designer), Sheryl Williams (Fight Choreographer), Devin Meseke (Production Manager), Erin Galvin (Stage Manager), Harrison Ornelas (Technical Director), and Avery Spellmeyer (Lighting Supervisor).

LOKI - THE END OF THE WORLD TOUR

Music & Lyrics By: George Howe

Book by Christina Calvit* 

Developed With and Directed By: Heather Currie*

Cast: Jack Chylinski as the god Loki, with Scott Danielson (Odin), Janelle Sanabria (Freya), Peter Gertas (Baldur), Keenan Odenkirk (Thor), Kate McQuillan (Sigyn), Grace Reidenauer (Hel), Anthony Kayer* (Fenris), Avery Thompson (Middy), Kelan Smith (Norn 1), Kara Olander (Norn 2), and Alek Boggio (Norn 3). Understudies are Mack Alexander, Jake Elkins, Felicia Niebel, Annalie Ciolino, and Travis Shanahan. 

Production Crew: George Howe (Composer / Lyricist / Music Director), Christina Calvit* (Playwright), Heather Currie* (Director), Kelan Smith (Co-Music Director), Lindsay Mummert (Scenic Designer), Saskia Bakker (Props Designer), G. Max Maxin IV (Lighting Designer), Aly Amidei* (Costume Designer), Emily Hayman* (Sound Designer), Sheryl Williams (Fight Choreographer), Devin Meseke (Production Manager), Erin Galvin (Stage Manager), Harrison Ornelas (Technical Director), and Avery Spellmeyer (Lighting Supervisor).

* denotes Ensemble Member

Dates: May 3 - June 14, 2026 (Previews April 24 - May 2, 2026) 

Schedule: Fridays at 7:30 p.m., Saturdays at 2:30 and 7:30 p.m., Sundays at 2:30 p.m.

Run Time: Approximately 2 ½ hours with one intermission

Location: Lifeline Theatre, 6912 N. Glenwood Ave.

Tickets: General Admission: $45 (Preview: $30; Opening $55))

Military, student, and senior discounts available

Box Office:  This email address is being protected from spambots. You need JavaScript enabled to view it. or by phone at 773-761-4477

I love when I’m surprised by a writer I assume is new to the scene, only to discover she has been honing her craft for years, quietly building a body of work the rest of us somehow missed. I love it even more when that discovery feels like striking gold. Such is the case with Kristen Adele Calhoun. A superior writer—assured, funny, emotionally and culturally precise—whose name, until now, had somehow eluded me. With Black Cypress Bayou, now receiving an unbelievable production at Definition Theatre, Calhoun announces herself (at least to Chicago audiences) as a major voice worthy of far more attention than she has received.

Under the smart, lively direction of Ericka Ratcliff, this production hums with comic electricity and emotional undercurrent. Ratcliff clearly trusts the text, allowing its humor to bloom organically while never losing sight of the deeper currents flowing beneath the laughter. The result is a staging that feels both buoyant and grounded—like the bayou itself, shimmering on the surface while concealing depth below.

The play centers on the Manifold women, and Ratcliff has assembled a quartet of actresses whose distinct comedic styles interlock beautifully. Michelle Renee Bester’s Ladybird Manifold anchors the evening with sharp timing and a steadiness that suggests stern resolve and steel. Bester understands that the funniest lines land best when rooted in truth.

Rita Wicks, as RaeMeeka Manifold-Baler, nearly steals the show with a performance that is riotously funny without tipping into excess. Her physical comedy is precise, her reactions razor-sharp. She seems to ride the rhythm of Calhoun’s language like a seasoned jazz musician, finding unexpected grace notes in throwaway lines. The audience’s laughter often arrives in waves when she’s onstage.

RJW Mays brings Vernita Manifold to life with a grounded warmth that balances the more explosive personalities around her. There is a generosity in Mays’ work—a listening quality—that allows scenes to breathe. Meanwhile, Jyreika Guest’s Taysha Hunter offers a refreshing contrast: contemporary, alert, and emotionally transparent. Guest navigates the character’s shifting loyalties and vulnerabilities with admirable nuance.

What makes this ensemble particularly thrilling is that each performer operates in a different comedic key, yet Ratcliff orchestrates them into harmony. The tonal blend—broad, dry, wry, heartfelt—shouldn’t work as seamlessly as it does. But here, it absolutely does.

In a production centering women both onstage and behind the scenes, there is an undeniable sense of cohesion and purpose. Scenic designer Alyssa Mohn, lighting designer Conchita Avitia, and sound designer Willow James conjure a fishing wharf deep in the bayou that feels at once literal and slightly mystical. Weathered wood textures, humid washes of light, and the subtle lapping of unseen water create a world that breathes. The environment is not mere backdrop; it is an active presence.

The costumes further ground the characters in time, economic reality, and personality. Fabric choices, silhouettes, and wear patterns quietly communicate history. We understand who these women are before they speak.

Ratcliff has described Calhoun as “tragically under produced.” After seeing Black Cypress Bayou, that phrase lands with force. If the rest of Calhoun’s catalog carries even half the wit, structural confidence, and emotional intelligence on display here, then Chicago theatres—and American theatres more broadly—have some catching up to do. Calhoun’s other plays, including works that explore Black Southern life, intergenerational memory, and the elasticity of family bonds, reportedly continue her signature blend of humor and haunting. One leaves this production not only satisfied, but curious—eager to track down everything else she has written.

Definition Theatre has given this play the gift every writer deserves: a production that listens, that elevates, that celebrates. Black Cypress Bayou is not simply entertaining, it is invigorating. It reminds us that discovery is one of theatre’s great pleasures. And sometimes, the most thrilling “new” voice is one who has been waiting patiently for us to catch up.

HIGHLY RECOMMENDED

When: through March 15th

Where: Definition Theatre@55th, 1160 E. 55^th Street., Chicago, Il.

Running time: 90 minutes no intermission

Tickets: Start at $25

312-469-0390

definitiontheatre.org

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

Marking 70 years of bold, expressive movement, American Icons from The Joffrey Ballet shines as a vibrant salute to the choreographers who shaped American ballet and helped define the company’s enduring legacy. Presented at the stunning Lyric Opera House in the heart of downtown Chicago, the program unfolds under the leadership of The Mary B. Galvin Artistic Director Ashley Wheater, MBE, and President & CEO Greg Cameron. With live accompaniment by members of the Lyric Opera Orchestra, the evening feels grand from the very first note.

Act 1 opens with Kettentanz, choreographed by Gerald Arpino, set to music by Johann Strauss Sr. and Johann Mayer. The curtain rises on a large, beautiful tree center stage, instantly setting a tone of elegance and celebration. The women are dressed in flowing pastel dresses that move effortlessly with each turn, while the men match them with buoyant, precise footwork. The live orchestra, including the delicate, beautiful sound of a harp, adds warmth and richness to the entire act. The dancers are often grouped in pairs, completely in sync, creating a sense of harmony and lightness. The overall feeling is joyful and fresh, almost like welcoming spring. While the choreography feels simple and not overly complex, it works in its favor, allowing the dancers’ technique and musicality to shine. One standout is Hyuma Kiyosawa from Nagano, Japan. He moves with sharp yet graceful precision and a swiftness that immediately draws the eye. His energy radiates across the stage, and when he finishes his time in the spotlight, the audience erupts in applause even as the performance continues. Throughout the act, many dancers take turns in short solos, duets, and pairings, with the men effortlessly lifting the women as they glide through the Viennese-inspired choreography.

After a brief 15- minute intermission, Act 2 shifts dramatically in tone with Secular Games by Martha Graham, set to music by Robert Starer. The curtain rises to reveal six male dancers, shirtless, barefoot, and wearing tights, a striking visual that immediately changes the atmosphere. A woman seated behind me audibly gasps “whoa,” and the audience seems just as captivated. The set includes three ropes, rounded seats, and a ball that the men toss between them. The ball cleverly shifts the audience’s focus, highlighting each dancer in turn as they show off both strength and control. The stage feels almost like a gymnastics practice space, and the opening section carries an intense, competitive energy, as though the dancers are vying for attention and dominance. Each man impresses with powerful movements, one even executes a cartwheel, blending athleticism with artistry.

Eventually, the female dancers enter in leotards of varying colors, adding contrast and balance to the stage. The first duet feels deeply emotional, conveying closeness and intimacy through challenging lifts and seamless transitions. As the act unfolds, the choreography becomes more dynamic and layered, with multiple interactions happening across the stage at once. There is an underlying story of desire and rivalry, a male dancer drawn away from one female partner toward another, competition bubbling beneath the surface. It feels as though everyone is dancing to impress, to attract, to win. One standout here is Lindy Mesmer from Blacksburg, Virginia. She moves with grace and strength, especially during lifts where she holds extended poses high in the air with remarkable control. Her presence feels both powerful and poised, capturing the tension and emotion of the piece.

Act 3 transitions into Postcards, choreographed by Robert Joffrey, set to music by Erik Satie. The mood softens immediately. A male and female dancer, dressed in white, the woman in a flowing white dress, begin a tender duet. Anais Bueno from Córdoba, Mexico and Stefan Gonçalvez from São Paulo, Brazil glide across the stage with a slow, romantic energy. An opera singer enters and begins singing live, a beautiful and fitting addition given the Lyric Opera setting. The dance feels intimate, emotional, and filled with love. Their movements are smooth and connected, almost as if they are breathing in unison. It is a quiet, reflective moment in the evening that allows the audience to pause and feel.

After a second intermission, Act 4 brings the final piece, Voluntaries by Glen Tetley, set to music by Francis Poulenc. The curtain rises to a striking image: a giant white sphere speckled with color dominates the background, echoing the tones of the dancers’ costumes. Victoria Jaiani and Dylan Gutierrez begin the pas de deux in silence, moving without music in a way that immediately captivates. Suddenly, the organ erupts with a dramatic sound reminiscent of Phantom of the Opera, filling the theater with an almost eerie intensity. The duet is fluid and daring, their bodies contorting and intertwining with precision and trust. There is something celestial about the staging, the moonlike sphere, the unusual music, the almost otherworldly costuming. As more dancers join in a pas de trois and multiple couples take the stage, the choreography grows expansive and technically demanding, filled with lifts, flips, and sweeping transitions. While the opening moments are mesmerizing, some sections with the larger groups feel slightly repetitive. Still, the athleticism and difficulty of the choreography are undeniable. The piece ends as it begins, returning to the single couple in silence, bringing the evening full circle.

Overall, the two-hour program moves quickly, each act distinct in tone and style, giving the audience just enough time with each choreographer’s vision. The talent within The Joffrey Ballet is truly remarkable, from the precision of classical pairings to the raw athleticism of modern movement. American Icons is a colorful, dramatic, and thoroughly entertaining night at the theater.

Performances run February 19 through March 1, 2026, at the Lyric Opera House, 20 N. Wacker Drive, Chicago. Showtimes include 7:30 p.m. evening performances (Thursday through Saturday) and 2:00 p.m. matinees on select Saturdays and Sundays. Tickets are available through joffrey.org or directly at the Lyric Opera House box office. For anyone looking for an evening filled with live music, emotional storytelling, and truly impressive dancers, this is a performance well worth seeing.

For more information, click here.

The Gaylord and Dorothy Donnelley Foundation (GDDF) is pleased to announce it awarded more than $1.76 million in grants to 66 of Chicago's small arts organizations and arts advocacy organizations in 2025. Twenty-seven Chicago area arts organizations received multiyear grants of $30,000 or more.

Additionally, GDDF granted $725,000 to the Arts Work Fund for Organizational Development last year, joining together with other funders to provide emergency funding and other support in response to recent challenges faced by arts organizations.

"As part of our Chicago Artistic Vitality program, the foundation, along with our arts philanthropy partners, increased our contribution to the funder collaborative Arts Work Fund," said Ellen Placey Wadey, senior program director for Chicago Arts & Collections at GDDF. "With an ability to deploy funds quickly and for immediate capacity needs, Arts Work Fund is a critical partnership in these difficult times for arts organizations."

"This has been a challenging year for many of our grantee partners, including the loss of significant sources of funding," said Arnold Randall, executive director of GDDF. "The Gaylord and Dorothy Donnelley Foundation remains steadfast in our commitment to our mission, values, and program areas, and in our support for the work of our grantees."

The Chicago arts grantees are a portion of the $7,538,880 in grants that GDDF provided to 128 organizations in the Chicago region and the Lowcountry of South Carolina across the foundation's three program areas in 2025: Artistic Vitality, Broadening Narratives, and Land Conservation. GDDF is currently funding more than 150 small arts organizations in the Chicago region through its multi-year general operating grants.

Among GDDF's 2025 Chicago arts grantees are nonprofit advocacy and support organizations Arts Alliance Illinois ($75,000) and Enrich Chicago ($60,000). Additional Chicago Artistic Vitality grantees receiving $40,500 grants include American Indian Center of Chicago, Black Arts & Culture Alliance of Chicago, Raven Theatre Company, Red Clay Dance Company, Remy Bumppo Theatre Company, Sisters in Cinema, South Chicago Dance Theatre, Theater Wit, and Trickster Cultural Center. Arts organizations receiving grants of $36,000 include Teatro Vista, The Chicago Poetry Center, and Visceral Dance Chicago.

A full list of GDDF's 2025 Chicago Artistic Vitality grantees follows at the end of this release.

"We also strive to offer support in ways grounded in trust and shared values," Randall added. "Most of our grants are multiyear general operating support. Beyond funding, we create opportunities to convene and collaborate, and we connect grantees with training and other capacity-building resources. Now more than ever it is vital to champion the power of art, conserve and protect our land, and share the stories that tell us who we are."

GDDF makes grants twice a year and prioritizes multiyear general operating support. In 2025, more than 68% of grants were for general operating support. GDDF also provides project, planning, technical assistance, and cash reserve funding. Program staff made more than 400 personal connections with grantees this year through calls, meetings, field visits, and attendance at performances.

2025 GDDF Funding by Region and Program

Chicago Region
$4,781,000 to 88 organizations

Artistic Vitality: $2,489,000

Broadening Narratives: $690,000

Land Conservation: $1,602,000

Lowcountry of South Carolina

$2,757,880 to 40 organizations

Artistic Vitality: $707,880.00

Broadening Narratives: $550,000

Land Conservation: $1,500,000

2025 Chicago Artistic Vitality Grantees

Arts Work Fund for Organizational Development ($725,000)

Arts Alliance Illinois ($75,0 00)

Enrich Chicago ($60,000)

American Indian Center of Chicago ($40,500)

Black Arts & Culture Alliance of Chicago ($40,500)

Raven Theatre Company ($40,500)

Red Clay Dance Company ($40,500)

Remy Bumppo Theatre Company ($40,500)

Sisters in Cinema ($40,500)

South Chicago Dance Theatre ($40,500)

Theater Wit ($40,500)

Trickster Cultural Center ($40,500)

Teatro Vista ($36,000)

The Chicago Poetry Center ($36,000)

Visceral Dance Chicago ($36,000)

Chicago Art Department ($30,000)

eta Creative Arts Foundation, Inc. ($30,000)

Free Street Theater ($30,000)

Fulcrum Point New Music Project ($30,000)

Griffin Theatre Company ($30,000)

Joel Hall Dancers and Center ($30,000)

Kalapriya ($30,000)

Korean Performing Arts Institute of Chicago ($30,000)

Latitude Chicago ($30,000)

Praize Productions ($30,000)

PRIDEARTS Center ($30,000)

The Gift Theatre Company ($30,000)

Theatre Y ($30,000)

Lifeline Theatre ($27,000)

Cerqua Rivera Dance Theatre ($25,500)

City Lit Theater Company ($25,500)

Jackalope Theatre Company ($25,500)

Oak Park Festival Theatre ($25,500)

Sones de Mexico Ensemble ($25,500)

Trap Door Theatre ($25,500)

Haymarket Opera Company ($25,000)

Oak Park Festival Theatre ($25,000)

Roman Susan Art Foundation ($25,000)

6018North ($22,500)

AAMPA African American Museum of Performing Arts ($22,500)

Aguijon Theater Company ($22,500)

Guild Complex ($22,500)

Khecari ($22,500)

Make-Believe Association ($22,500)

MPAACT ($22,500)

NAJWA Dance Corps ($22,500)

Redtwist Theatre ($22,500)

Rembrandt Chamber Musicians ($22,500)

Riverside Arts Center ($22,500)

Roman Susan Art Foundation ($22,500)

Rough House Theater Company ($22,500)

The Paper Machete ($22,500)

Winifred Haun and Dancers ($22,500)

La Caccina ($18,000)

Mad Shak Dance Company ($18,000)

Zephyr Dance Ensemble ($18,000)

South Side Community Art Center ($15,000)

Full Spectrum Features ($13,500)

Third Coast Percussion ($13,500)

Gender Fucked Productions ($12,000)

Piven Theatre Workshop ($12,000)

Red Theater Chicago ($12,000)

Sixty Inches From Center ($10,000)

DanceWorks Chicago ($8,500)

Heaven Gallery ($8,500)

Pegasus Theatre Chicago ($7,500)

Symphony of Oak Park and River Forest ($7,500)

The Gaylord and Dorothy Donnelley Foundation supports land conservation, artistic vitality, and regional collections for the people of the Chicago region and the Lowcountry of South Carolina. The Foundation seeks to sustain and build resilient, vital, engaged, and equitable communities in these two regions by supporting conservation, arts, and collecting organizations that broaden narratives. For more information, visit gddf.org.

I’ll admit it—I’ve never watched an episode of The Real Housewives. So, heading into Hell in a Handbag’s latest holiday production inspired by the series, I braced myself for a barrage of references that might slip past me. Turns out, I caught the vibe almost instantly—and once I did, the jokes flew fast and furious.

So, after a bit of research - for anyone else walking in blind - The Real Housewives is a reality TV juggernaut that blends glamour, intrigue, and high-stakes drama into a cultural phenomenon - and yes, the claws can come out. For nearly twenty years, the franchise has captivated audiences with its blend of luxury lifestyles, fiery confrontations, and unforgettable personalities - cementing its place as one of the most influential and enduring phenomena in modern pop culture. What began in Orange County soon spread to New York City, Atlanta, New Jersey, and beyond. But thanks to Hell in a Handbag, it was only a matter of time before The Real Housewives set up shop at the North Pole. That’s right - The Real Housewives of the North Pole is here.

The North Pole has never looked frostier. When Santa and his circle of high-powered holiday elites find themselves slapped with indictments for fraud, sending shockwaves through the snowy kingdom, the glittering facade of candy-cane wealth begins to crack. Now it falls to the women to rescue their families from looming financial ruin. Though practical survival skills are in short supply, the burden falls squarely on the housewives to rebuild an empire. Years of privilege have left them with closets overflowing in luxurious clothing and jewels, but little else to shield them when their glittering world is suddenly under threat.

In quintessential Handbag camp style, we’re introduced to the housewives who truly matter the most when the holidays roll around. At the heart of the series is Santa’s wife, Ruth Claus (Honey West), freshly embracing sobriety while wrestling with the family finances. Her anchor in the storm is the irresistibly suave Carlos (Taylor Mercado Owen), a sobriety coach whose steady charm keeps her grounded amid the glitter, chaos, and sappy drama of the North Pole. Always on the hunt for drama and the makings of a hit, BRAVO network producer Andy Cohen (David Lipschutz) wastes no time assembling a roster of North Pole divas. Enter Mrs. Samantha Frosty (Robert Williams), Mrs. Gladys Dasher (David Cerda), Clarice, the long-suffering wife of Rudolph (Anna Rose Steinmeyer), and Suzy Snowflake, Jack Frost’s icy better half (Britain Shutters). Once these housewives collide, the antics escalate at lightning speed - each outrageous clash topping the last, turning the show into a blizzard of hilarity and brawls.

As petty catfighting and ditziness reach new heights, make-up artist Cookie (Terry McCarthy) goes to heroic lengths to keep the housewives looking fabulous - even if it requires the occasional power tool. Meanwhile, the poor Production Assistant (Kelly Opalko) can’t catch a break, as no one seems able to remember her name… Petra, maybe?

(front, center) Anna Rose Steinmeyer with (back, l to r) Robert Williams, Taylor Mercado Owen, David Cerda and Britain Shutters in Hell in a Handbag Productions’ world premiere of The Real Housewives of the North Pole.

While visually filling to watch the chaos and absurdity unfold on stage, The Real Housewives of the North Pole also makes clever use of multimedia, employing dual screens to showcase interviews not only with the housewives themselves but also with a parade of special guests - including Santa (Michael Hampton) and Bernice (Ed Jones), the typical “average housewife.”

Amid the whirlwind of onstage action, there’s still another performance that deserves recognition. Stage Manager/Board Operator Conor Frank delivers one of the production’s most quietly dazzling performances, orchestrating an entire symphony of effects from the wings. With remarkable precision, he juggles live foley work and layered audio cues, transforming everyday objects into bursts of comic timing or atmospheric texture. Watching him at the side of the stage is its own kind of theater - an intricate dance of concentration and creativity that underscores the madness onstage.

A genuinely one-of-kind theatre company, Handbag’s comedic talent never fails to impress as their entire ensemble was outstanding, and their uncanny knack for casting ensures each role feels tailor-made. And just in time for the holidays, Hell in a Handbag has pulled it off yet again - another dazzling feather tucked neatly into their fabulously overstuffed cap. With David Cerda’s sharp pen and Tommy Bullington’s spirited direction, The Real Housewives of the North Pole serves up a frosty feast of holiday hilarity that should not be missed.

Recommended for lots of laughs and Handbag-style holiday cheer!

The Real Housewives of the North Pole is being performed at The Clutch Chicago (4335 N. Western Ave) through January 4^th. For tickets and/or more show information, visit www.handbagproductions.org.

*Special note - FOLLIES the Annual Hell in a Handbag 2025 Benefit will be taking place at Ebenezer Lutheran Church in Chicago’s Andersonville neighborhood this Sunday, December 7^th at 5:30pm-9pm. Per Handbag’s site, the evening will include dinner, drinks, entertainment, a raffle and silent auction.

Tickets ($104 general admission, $129.75*) are available (click HERE for tickets). *Prices include processing fees.

Handbag celebrates its 24th year with a very abbreviated production of Follies – performed Hell in a Handbag style! Watch as aging showgirls, draped in sequined desperation, reunite to belt out twisted parodies of Stephen Sondheim's most iconic numbers including “I'm Still Here,” “Losing My Mind,” “Broadway Baby,” “Beautiful Girls” and other favorites It'll be the hits you love and a show you'll desperately try to forget (with apologies in advance to the spirit of Mr. Sondheim).

The entertainment line-up features ensemble members David Cerda, Sydney Genco, Caitlin Jackson, Ed Jones, Lori Lee, David Lipschutz, Stevie Love, T.J. O'Brien, Michael Rashid, Danne W. Taylor and Robert Williams, along with some surprise guests.

"The course of true love never did run smooth." No, wait, that’s from A Midsummer Night's Dream

"I do desire we may be better strangers." Mmmm … closer, but this one’s As You Like It

" Many a good hanging prevents a bad marriage".  A worthy sentiment, but it appeared in Twelfth Night, not …

“Thou and I are too wise to woo peaceably.” Aha! There we go … Benedick says this to Beatrice during one of their incessant arguments in MUCH ADO ABOUT NOTHING. And if you don’t believe me, you can hear it yourself at Chicago Shakespeare Theater – and I very highly recommend you do just that! And don’t dawdle – when I was there last Sunday it was sold out.

A quick-and-dirty rundown of the story:  the beautiful Hero (Mi Kang) has just fallen ass-over-teakettle in love with the courageous young soldier Claudio (Samuel B. Jackson), who reciprocates immediately and enthusiastically. Accompanying Claudio is his senior military officer, Hero’s father Don Pedro (Debo Balogun); also aristocratic soldier and avowed bachelor Benedick (Mark Bedard). Benedick is an Old Family Friend who’s maintained a long-standing verbal battle with Hero’s shrewish [get it? shrewish? nod, nod, wink, wink] cousin Beatrice (Deborah Hay). There’s no questioning the authenticity of their dissension, but from the outset we sense the infatuation lurking just under their squabbles and know that this will be mined for all its chucklesome gold. After all, the most perennial subject of comedy is love, as the Bard knew very well.

Tom Piper does a fabulous job with the set, creating an ethereal fantasy world in the beautiful courtyard of nobleman Leonato (Kevin Gudahl). Lavish garlands festoon balconies and arches, defining the ambience without distracting from the action. A tree stands prominently at stage left and comes into frequent use; there’s even a swing! Several characters have occasion to hide behind its trunk and even up in its branches (clearly a very sturdy piece, that tree). Piper’s choice to design costumes in contemporary style provides another discordance to mirror the ever-present yet ever-changing infighting among the characters.

British actress Selina Cadell directs, exhibiting her long experience with and conspicuous mastery of both Shakespeare and comedy. The story is told cleanly; the pacing is perfect and miraculously the cast has thoroughly conquered iambic pentameter – though a screen displayed open captioning I didn’t need it – every line is intelligible.

The characters interact with the audience throughout. Realism is interchanged with physical comedy, as when Hay ‘hides’ within the audience by shielding her face with a program (and helping herself to her seat-neighbor’s drink!), and Bedard vows ‘I will live a bachelor’ to a member of the audience, shaking his hand on it. Though this physical contact with the characters was limited to the fortunate attenders in front-row seats, the cast regularly invited collusion from the audience as a whole. At one point they convince the audience is to join them in singing ‘hey, nonny’ and there were amazingly few holdouts. I almost never sing along but I did this time!

Bob Mason built a remarkably diverse cast. Between Debo Balogun as Don Pedro, Samuel B. Jackson playing Claudio and Jaylon Muchison taking several comic roles, this production is an excellent showcase for the Black male actors in Chicago.  

Traditionally Shakespeare’s romantic dyads are played by blooming fledgling players –cute kids. Mason choosing fully grown Bedard and Hay as Beatrice and Benedick deepens everyone’s experience. It’s unfair to ask adolescents – kids! – no matter how talented, to develop characters as complex as Hamlet, and inexperienced comediennes fall too easily into Three Stooges-ish slapstick.

It requires a woman well past menarche to fathom Beatrice’s temperament. She’s not so much choosing between different men as she is wondering aloud whether she needs a man at all. She pretty much decides ‘not’, a decision that the majority of modern women can at least understand, if not agree with. A woman must have traversed the estrogen-saturated third and fourth decades of life before she can begin to discern what an equal relationship is, let alone how to construct one.   Beatrice trusts that Benedick will help ease her pain, but it takes a terrific actor to convince the audience to trust him. Benedick in turn must check his Italianate machismo at the door and demonstrate his own vulnerability, not only to Beatrice but to a house full of cynical, overeducated twenty-first century women. Luckily these two actors are exceptionally skilled.

Act Two is markedly darker: Don Pedro’s illegitimate brother Don John (Erik Hellman) is a fellow with an axe to grind. Why? Maybe because he’s illegitimate, a motive as common as it is irrational; any road, his motives are unimportant to the basic story. Suffice to say he has it in for his legit sibling and maliciously chooses to attack him through young Hero. He plots with Borachio (Yona Moises Olivares) and Conrade (Colin Huerta) to disseminate a false story that Hero has been unfaithful to her fiancé Claudio, who’s unfortunately a gullible twit and falls for these unsubstantiated rumors.  

Fortunately, Hero’s suffering is (at least partially) balanced by the clodhopping Dogberry dropping one hilarious malapropism after another. I always have one favorite character (yeah, I’m a bad mom) and in this piece my pick of the litter is Dogberry, particularly as so wonderfully played by Sean Fortunato. Fortunato’s long face and longer body seem custom-designed for the rollicking physical comedy of this wonderful role (though actually he has a phenomenal range). Dogberry’s performance was enhanced by the antics of his constable Verges (Jaylon Muchison), who literally and hilariously dogs Dogberry’s footsteps, resulting in several collisions.

We all know a Dogberry – the nincompoop who sucks up with highfalutin’ speeches that lavishly display he has no clue what the hell he’s talking about. I can’t resist including a quote (no spoiler, promise!) from Dogberry’s account to his boss: “Marry, sir, they have committed false report; moreover, they have spoken untruths; secondarily, they are slanders; sixth and lastly, they have belied a lady; thirdly, they have verified unjust things; and, to conclude, they are lying knaves.” You have to pay attention though, as many of his drollest maxims are far briefer.

Unexpected but welcome was original music composed by Eliza Thompson, with cast members playing accordion, saxophone, drum, flute, banjo, and guitar. Sound designer Nicholas Pope used excerpts of Thompson’s score to indicate the passage of time between scenes, with lighting refinements imbued with the prevailing comedic zeitgeist – though how one makes lighting funny is a mystery to me. Fortunately, light designer Jason Lynch knows how.

MUCH ADO ABOUT NOTHING is the original romcom and this production channels the spirit of the classic 1940s romantic comedies. Rosalind Russell / Cary Grant and Katharine Hepburn / Spencer Tracy stem from Beatrice and Benedict as directly as the Sharks and the Jets are drawn from the Capulets and Montagues. The characters and their adventures are, after all, timeless. With uncanny prescience MUCH ADO ABOUT NOTHING examines major twenty-first century courtship issues: the disproportionate consequences for women, differentiating between humor and ardor, finding balance in inherently unbalanced relationships, even cyber-bullying! I’m not a Shakespeare scholar but I’m willing to bet the man never so much as sent a text message.

MUCH ADO ABOUT NOTHING is arguably Shakespeare’s best comedy, and Chicago Shakespeare Theatre delivers just that, secured by the warmth, maturity and phenomenal talent of the cast. It’s good solid unadulterated Shakespeare and, though the physical comedy is uproarious, the shenanigans never overshadow the linguistic magnetism. This production of MUCH ADO ABOUT NOTHING is totally irresistible!

VERY HIGHLY RECOMMENDED

Running until December 11 at Chicago Shakespeare Theater 800 East Grand Avenue Chicago

Under the deft direction of American Blues Theater’s Executive Artistic Director Gwendolyn Whiteside, Frank Capra’s beloved holiday classic It’s a Wonderful Life is reborn as a charming 1940s radio broadcast. With vintage microphones, live foley effects, and a versatile ensemble shifting seamlessly between characters, the production becomes more than a retelling - it’s a joyous homage to the art of storytelling itself. Audiences are invited to step back into the golden age of radio, where imagination takes center stage and George Bailey’s timeless journey resonates anew.

In Bedford Falls, George Bailey devotes his life to helping others, setting aside his own dreams for the good of his community. But when financial disaster strikes on Christmas Eve, he begins to doubt his worth. Enter Clarence, a guardian angel, who reveals a chilling vision of a world without George - a town consumed by Mr. Potter’s greed and stripped of hope. Confronted with the profound impact of his generosity, George rediscovers the value of his life. As his neighbors rally to support him, he learns that true wealth lies not in money, but in friendship, love, and the lives he’s touched.

By casting the audience as “studio listeners,” the production erases the boundary between stage and spectator. Foley effects—the slam of doors, the crunch of snow—lend a tactile realism that cinema rarely achieves. The ensemble’s deft shifts in voice and character populate Bedford Falls with remarkable clarity, their energy carrying the narrative even through George’s darkest moments. The touchstones are all here: George’s sacrifices, Potter’s greed, Clarence’s intervention, and the jubilant finale of community over isolation. In radio-play form, these familiar beats gain fresh resonance, reminding us that sound and imagination can be more powerful than spectacle.

The ensemble of It’s a Wonderful Life: Live in Chicago! shines with warmth, artistry, and undeniable chemistry, breathing vibrant new life into this holiday treasure. At the heart of the production, Brandon Dahlquist embodies George Bailey with a sincerity that feels both timeless and immediate. His performance is layered with emotional depth - capturing the optimism of youthful dreams, the weight of sacrifice, and the aching vulnerability of despair. Dahlquist’s portrayal is not only heartfelt but profoundly inspiring, reminding us why George Bailey remains one of the most enduring figures in American storytelling. With every gesture and inflection, he draws the audience into Bailey’s journey, making the character’s triumphs and struggles resonate as if they were our own. It is a performance that anchors the show with humanity and elevates it with grace.

Equally compelling is Ian Paul Custer, who delivers a masterful dual turn that showcases both his range and precision. As Clarence, he radiates warmth and gentle humor, embodying the guardian angel with a tender humanity that uplifts the story and offers moments of levity. In stark contrast, his portrayal of Mr. Potter is steeped in chilling authority - a ruthless presence whose greed and menace cast a long shadow over Bedford Falls. The seamless transition between these two extremes underscores not only Custer’s remarkable skill but also the production’s emotional contrasts, reminding us that the heart of It’s a Wonderful Life lies in the tension between compassion and cruelty, hope and despair.

Justin Banks infuses Harry with an effortless charm, while Audrey Billings embodies Mary Bailey with a luminous blend of grace, resilience, and radiant warmth. Her presence anchors every scene, offering both steadiness and emotional depth as she navigates the joys and hardships of George’s journey. Manny Buckley lends Joseph a dignified gravitas, and Dara Cameron sparkles as Violet, bringing wit, vivacity, and a touch of glamour to Bedford Falls. Michael Mahler elevates the atmosphere as the charismatic Announcer, while his live piano accompaniment bathes the production in nostalgic glow, perfectly evoking the golden age of radio.

Rounding out the ensemble, J.G. Smith delivers a dazzling performance as the Foley artist, transforming everyday objects into extraordinary tools of imagination. With impeccable timing and inventive flair, Smith crafts the soundscape that breathes life into Bedford Falls - snow crunching underfoot, doors creaking open, coins clinking, and bells ringing with holiday cheer. Each effect is not merely background noise but a vital layer of storytelling, immersing audiences so completely that George Bailey’s world feels tangible and immediate. Smith’s artistry underscores the magic of live radio theater, reminding us that sound alone can transport us across time, space, and emotion. It’s a masterclass in creativity and precision, and his contribution ensures the production resonates with authenticity and wonder.

Together, this gifted ensemble weaves storytelling, music, and imagination into a seamless tapestry - proving that collaboration, heart, and craft are what make this production truly wonderful.

The magic begins even before the curtain rises. Arrive early and you’ll be treated to a lively pre-show experience, where the stage comes alive with playful antics, warm laughter, and spirited music. Cast members set the tone with a burst of energy that instantly draws the audience into the festive spirit. It’s more than a warm-up - it’s an invitation to step into the world of Bedford Falls with joy already in the air. By the time the official performance begins, you’ll feel like part of the celebration, swept up in the camaraderie and holiday cheer.

For close to 25 years, American Blues Theater has brought Frank Capra’s classic to life in the form of a 1940s radio broadcast. It’s a Wonderful Life: Live in Chicago! has earned its place as the second longest-running holiday production in the city.

American Blues Theater has discovered a beautiful new permanent home just west of Andersonville. The venue strikes the perfect balance - intimate yet expansive - with seating that is both comfortable and generously spaced. Fully ADA accessible and thoughtfully designed, the theater even offers the convenience of its own dedicated parking lot right beside the building. The parking is easy and the theater offers free spots for disabled patrons.

Recommended!

It’s a Wonderful Life: Live in Chicago! is being performed at American Blues Theater through December 28^th. For tickets and/or more show information, visit https://americanbluestheater.com/2025-its-a-wonderful-life-live-in-chicago/.