Displaying items by tag: chicago theatre

Hyde Park School of Dance, now in its 33rd year of training, performance, and community, welcomes families and dance enthusiasts to its annual, one-of-a-kind presentation of The Nutcracker. Performances are December 11–13 at Mandel Hall on the University of Chicago campus, 1131 E. 57th Street, Chicago. 

Hip hop mice face off against breakdancing soldiers in HPSD's playful reimagining of The Nutcracker's classic battle scene, where creative self-expression turns conflict into connection. The battle is one of the signature moments in a production that brings classical ballet, hip hop, breakdancing, modern, AcroDance, West African, and Chinese dance together to tell the familiar holiday story. Narration throughout helps audiences of all ages follow the adventure.

Refreshed each year, the production features a cast of more than 200, from dancers as young as 7 to members of HPSD's pre-professional Studio Company Program and adult performers from the community. The result is a celebration of dance across styles and generations, with fresh discoveries for returning audiences and a welcoming introduction for those experiencing their first Nutcracker.

This production marks the first since the retirement announcement of Founding Artistic Director August Tye following 32 years of leadership. Under Interim Artistic Director Amber Echols, the production enters its next chapter, shaped by her wide-ranging dance background while building on Tye's decades-long legacy. Echols started as a student at the Hyde Park School of Dance more than 20 years ago, performing annually in The Nutcracker herself. 
 
"I am incredibly grateful to return for my second year as Interim Artistic Director and have the opportunity to continue leading this special production," said Echols. "The Nutcracker has always held a special place in my heart. I remember being a young dancer on this very stage, dreaming about the roles I hoped to dance one day, and now I have the privilege of helping create those same moments for our dancers. It is truly a full-circle experience to watch their excitement during auditions, hear them talk about their dream roles, and see them grow throughout the process. Helping to carry on this tradition while creating new memories for the next generation of dancers holds deep meaning for me."
 
This year, HPSD welcomes community partners for Neighborhood Night on Friday, December 11, with opportunities to connect around resources and opportunities available to local residents. Audience members are welcome to bring a donation for the Hyde Park-Kenwood Food Pantry and arrive early to explore ways to engage. Community partners may sign up to participate by using this form.
 
HPSD presents its youngest performers (ages 4–6) as part of the special Young Dancers Holiday Pre-Show prior to both performances on Saturday, December 12. 
 
The production also includes surprise cameos by local VIPs in the larger-than-life role of Mother Ginger—this year including a special appearance by HPSD Founding Artistic Director August Tye on Sunday, December 13. Tye also teaches a special pre-show class for alumni on Sunday.

The Nutcracker takes place Friday, December 11 at 7 p.m.; 
Saturday, December 12 at 1 and 6 p.m.;
and Sunday, December 13 at 2 p.m. 
at Mandel Hall, 1131 E. 57th Street, in Chicago.  

General admission is $38.10 for adults, $28.10 for seniors (65+), 
$18.10 for children ages 6–18 and college students with school ID, 
and $8.10 for children 5 and younger (lap children are free).
Special $48.10 preferred section tickets are available for all ages.
All prices include service fees.

Tickets are available October 27 at 31109.danceticketing.com/.

NOTE: All performances include ASL interpretation; guests requiring seats for the interpretation should email This email address is being protected from spambots. You need JavaScript enabled to view it. prior to purchasing tickets.

Hyde Park School of Dance 

Founded in 1993 as the Hyde Park School of Ballet, Hyde Park School of Dance is a 501(c)(3) nonprofit providing opportunities for students of all ages and abilities to study, perform, and create classical and contemporary dance at the highest levels of discipline and artistry within a community dedicated to the welcoming inclusion of dancers of all races, religions, body types, genders, sexual orientations, and family income backgrounds. Under the leadership of Interim Artistic Director Amber Echols, Hyde Park School of Dance is committed to offering everyone the chance to experience the empowering rewards of self-discipline, hard work, and collaboration in a diverse and supportive environment, cultivating a love of dance and a strength of body, mind, and character that will benefit students of all ages throughout their lives.

For information, visit hydeparkdance.org.

Kokandy Productions is pleased to conclude its 2026 Season with A Clockwork Orange: A Play with Music, a live adaptation of Anthony Burgess's dystopian novel that brings the cult-classic "horrorshow" to visceral, pulsing, terrifying life. Directed by Producing Artistic Director Derek Van Barham, with music direction and original music by Sean Ellis and choreography by Breon Arzell , A Clockwork Orange will play November 5, 2026 – January 10, 2027 on The Chopin Theatre Mainstage, 1543 W. Division St. in Chicago. Tickets are on sale now at kokandyproductions.com or bit.ly/ClockworkChicago.

A Clockwork Orange will be led by Reilly Oh as the charismatic yet sadistic Alex DeLarge. Hannah Antman (Pete), Jamille Calixte (Georgie) and Ben Harmon (Dim) will portray Alex's band of Droogs, with Robert Hunter Bry, Colin Callahan, Sydney Genco, Jaiden Lindsey, Tommy Thams and Lizzie Williams creating an "ultra-violent" world of doctors, officers, government officials, inmates, milk bar patrons and more. Stone TeSelle will understudy Alex Delarge, with swings including Jenni Babisch, Jeff Menezes and Skye Steury.

"Having both the beloved book and the cult classic Kubrick film as references gives us even more opportunity to surprise our audience and subvert expectations," says Producing Artistic Director Derek Van Barham. "Immersing the audience in the dystopian decadence of Alex and his droogs resonates differently in 2026, when choice and individual expression are both under attack. At this moment, should we be willing to sacrifice any part of what makes us uniquely ourselves? What first appears to be a story about curing evil in a rebellious teen may also double as a cautionary tale about using fear to create a more socially acceptable kind of monster."

About the Production

A Clockwork Orange lures audiences into a glass-edged, testosterone-filled underworld of a dystopian future. The explosive story of little Alex and his rebellious gang of Droogs is a groundbreaking and twisted tale teeming with sexuality and "a bit of the old ultra-violence." As hauntingly relevant today as when Burgess's book first published in 1962 and when Stanley Kubrick's cult classic film caused a stir in 1971, A Clockwork Orange is an unapologetic celebration of the human condition. And Beethoven.

The production team includes Eric Luchen (Scenic Design), Rachel Sypniewski (Costume Design), G "Max" Maxin IV (Lighting Design), Matt Reich (Sound Design), Julian Weslander (Properties Design), Syd Genco (Makeup Design), Keith Ryan (Wig Design), Kirsten Baity (Intimacy Director), Lana Whittington (Fight Director), Carrie Hardin (Dialect Coach), Shane Roberie (Casting Director), Nicholas Reinhart (Production Manager), Amelia Osborn (Associate Production Manager), Corbin Paulino (Stage Manager), Michael Latiolais (Assistant Stage Manager), Scot Kokandy (Executive Producer) and Derek Van Barham (Producing Artistic Director).

PRODUCTION DETAILS:

Title: A Clockwork Orange: A Play with Music

Playwright: Anthony Burgess, adapted from his novel

Director: Derek Van Barham

Music Director and Original Music: Sean Ellis

Choreographer: Breon Arzell

Location: Chopin Theatre Mainstage, 1543 W. Division St., Chicago

Dates: Previews: Thursday, November 5 – Friday, November 20, 2026

Regular run: Sunday, November 2, 2026 – Sunday, January 10, 2027

Curtain Times: Thursdays, Fridays and Saturdays at 7 pm; Sundays at 5 pm. Please note: there will not be a performance on Thursday, November 25 (Thanksgiving); Thursday, December 24 (Christmas Eve), Friday, December 25 (Christmas Day), Thursday, December 31 (New Year's Eve) or Friday, January 1 (New Year's Day); there will be added performances on Wednesday, November 25 at 7 pm; Tuesday, December 22 at 7 pm, Wednesday, December 23 at 7 pm, Tuesday, December 29 at 7 pm and Wednesday, December 30 at 7 pm.

Tickets: Previews $28.52* general admission, $39.19* reserved seating. Regular run $55.20* general admission, $65.87* reserved seating. Students/seniors $44.52*. There will be a limited number of lower-priced tickets (with code ARTIST) available to artists for each performance. Tickets are on sale now at kokandyproductions.com or bit.ly/ClockworkChicago. *Ticket prices include processing fees

About the Artists

Derek Van Barham (Director) is the Producing Artistic Director of Kokandy Productions. Directing credits include Children of Eden in Concert (Broadway In Chicago), Jekyll & Hyde (BIC/Kokandy), Amélie, Into the Woods, Alice by Heart, Sweeney Todd, American Psycho, Head Over Heels (4 Jeff Awards and 3 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), Natasha Pierre and the Great Comet of 1812, 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 and 2026. MFA: CCPA/Roosevelt University. IG: @dvbarham

Sean Ellis (Music Director, Original Music) is a Chicago-based multimedia artist working with music, sound, dance, movement, burlesque and acrobatics, and is the second sibling in the Haus of Twirl. Their work aims to engage vulnerability, inspire introspection and generate collective action. Their work has brought them around the world, creating, performing and producing award-winning art. This includes artistic research residencies at Lund University, invitations to present work with the UN of Sweden and the Clinton Foundation Global Initiative Summit, as well as performances at Steppenwolf Theatre, The Hanna Theater, and more. Additionally, Sean's art has been recognized through numerous awards, including selected student composer at the Chicago Electro-Acoustic Music Festival, the Grammy-Award winning Cleveland Chamber Symphony's Emerging Composer Award, the 2017 OperaFEST featured composer and the 2018 Matthew Freeman Social Justice Award through the Mansfield Institute for Social Justice and Transformation. Sean holds bachelor's and master's degrees in music composition from Baldwin Wallace Conservatory of Music and Roosevelt University Chicago College of Performang Arts, respectively.

Breon Arzell (Choreographer) Kokandy: The Wiz, Head Over Heels, American Psycho. Chicago: A Strange Loop (Raven/AboutFace), How We Got On (Definition Theatre), The Color Purple (Goodman), Black Excellence Shows & Main Stage Revue (The Second City), Brothers Size, We ARE Proud... (Steppenwolf), KillMoveParadise (TimeLine Theatre) and more. Regional: Select: Signature Theatre, Cape Fear Regional Theatre, Woolly Mammoth Theatre, MUNY, The Kennedy Center, Olney Theatre Center, Oregon Shakespeare Festival. International: Italy, A.C.L.E. Theatrino; Germany, White Horse Theatre; Denmark, World Theater Festival; Singapore, LaSalle SIA. Education: DePaul University, Northwestern University, University of Illinois-Chicago. Film/TV: The 4400, SouthSide, Whole + Six Feet Apart, Blacksite. Awards: 5 Jeff Awards (Joseph Jefferson, Chicago), 2 Black Theater Alliance Awards, Helen Hayes Award for Best Choreography.  www.breonarzell.com @breonarzell

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) 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 kokandyproductions.com. 

It’s back by popular demand! Broadway In Chicago is excited to announce that THE BOOK OF MORMON is now playing at Broadway In Chicago’s Cadillac Palace Theatre (151 W. Randolph St.) for a limited engagement through November 1 only.

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 six-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 March 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 2012 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
Friday, October 23 – 7:00 p.m.
Saturday, October 24 – 2:00 p.m. & 7:30 p.m.
Sunday, October 25 – 1:00 p.m. & 6:30 p.m.

Tuesday, October 27 – 7:00 p.m.
Wednesday, October 28 – 7:00 p.m.
Thursday, October 29 – 7:00 p.m.
Friday, October 30 – 7:00 p.m.
Saturday, October 31 – 2:00 p.m. & 7:30 p.m.
Sunday, November 1 – 1:00 p.m. & 6:30 p.m.

TICKET INFORMATION (As of October 23, based on availability and subject to change)
Individual tickets for THE BOOK OF MORMON are on sale now and range from $49.00 to $169.00 with a select number of premium tickets available. The listed ticket prices apply to purchases made in person at the box office. Additional fees apply for online purchases. Patrons can also participate in a digital lottery for a chance to purchase $30.00 tickets for each performance, which is inclusive of all mandatory taxes, restoration, handling, and third-party fees. In addition to the lottery, a limited number of day-of-show, in-person Rush tickets will be available for $49.00 for all performances. Click here for more info on Digital Lottery and In-Person Rush. 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 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, The Auditorium, and just off the Magnificent Mile, the Broadway Playhouse at Water Tower Place .
 

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

The Artistic Home's 2026-27 season will include works by new writers, along with less performed works by two of the greatest playwrights of the past 140 years. After opening their season on November 5 with CUT TO THE CHASE at the Lookingglass Studio Theatre, the company will return to The Den Theatre for the remainder of the season. There, The Artistic Home  will present Arthur Miller's later career drama, THE PRICE, from January 21 to February 28 and conclude their season with Anton Chekhov's first produced play, IVANOV, which will play from May 1 to June 6.
 
A staple of Chicago theater for over two decades, CUT TO THE CHASE presents as one fun night of theater a number of new plays chosen from hundreds of submissions by writers from across the country. The plays are performed back-to-back, with the complete program running approximately 80 minutes. CUT TO THE CHASE is a perfect taste of dynamic theater in an intimate space. Ensemble member Annie Hogan will curate the festival, which will be directed and performed by ensemble members and other theatre artists. CUT TO THE CHASE will be performed for two weekends, from November 5 -15, at the Lookingglass Studio Theater, 163 E. Pearson at Michigan Avenue, on Chicago's Magnificent Mile. Tickets are $25.00 plus fees and are available at https://www.theartistichome.org/cut-to-the-chase-2026-2027.
 
The lineup of plays for this edition of CUT TO THE CHASE includes "Bone Fire" by Nina Dellaria, directed by Eve Pahoresky and performed by Caitlin Jemison and Chris Clowers; "Devoted and Other Adjectives" by Brian S. Brijbag, directed by Devon Carson and performed by Mary Mikva and Michael Baylor; "Gouting" by Dan Caffrey, directed by Jacob Watson and performed by Delia Ford and Lee Kanne; "Posthumy!" by Siah Berlatsky, directed by Savaun Stokes and performed by Janice Rumschlag and Jared Goudsmit; "Rot" by S.A. Ellis, directed by Julian Hester and performed by Charlie Irving and Trevor Hendrix; and "Break" by Margaret Richard, directed by Christian Helem and performed by Taylor Talhame, Nick Buzzi, and Elizabeth Sacha.
 
CUT TO THE CHASE will be followed in January by THE PRICE, Arthur Miller's play first produced in 1968. Two estranged middle-aged brothers reunite in the attic of their family's Manhattan brownstone to sell off a lifetime of estate furniture. The cluttered attic filled with family furniture acts as a physical repository of the past, where characters project their unresolved grief, bitterness, and relational attachments onto physical things. THE PRICE was Miller's last major Broadway hit, and while less frequently performed than his DEATH OF A SALESMAN, ALL MY SONS, THE CRUCIBLE, or A VIEW FROM THE BRIDGE, THE NEW YORK TIMES called it "one of the most engrossing and entertaining plays that Miller has ever written." It will be performed and directed by a cast of The Artistic Home ensemble members, with Scott Westerman directing Kristin Collins, John Mossman, Frank Nall, and Todd Wojcik. THE PRICE will open to the press on Thursday, January 28, following previews on January 24, 25, and 27; and play through February 28, in the Bookspan space of The Den Theatre.
 
Closing the company's season will be Anton Chekhov's first produced full-length play, IVANOV. Like Chekhov's later plays – CHERRY ORCHARD, SEAGULL, and THREE SISTERS, it explores themes of loss amidst a changing society. The title character, once a highly successful member of the County Counsel, is deeply in debt, in danger of losing his estate, and most troubling, is severely depressed. Ensemble member Ted James will direct. IVANOV will open to the press on Thursday, May 6, following previews on May 1, 2, and 5; and will play in the Bookspan space at The Den through June 6.

The Artistic Home's 2026-27 is sponsored by the Michael and Mona Heath Fund.
 
Tickets for CUT TO THE CHASE are $25.00 plus fees and are available at https://www.theartistichome.org/cut-to-the-chase-2026-2027. Ticketing information for THE PRICE and IVANOV will be announced later.

There are funerals where grief brings a family together, and then there are funerals where grief opens the door to everything a family has spent years trying to keep buried. In Hayward, playwright Netta Walker turns a father’s funeral into a reckoning with family secrets, unresolved pain, and the ghosts that refuse to stay in the past.

Given a bold world-premiere production by The Gift Theatre, presented at Steppenwolf’s 1700 Theater, Hayward, directed by AmBer Montgomery, reimagines elements of Hamlet and Electra through the eyes of Luna, the youngest daughter in a deeply complicated family. On the day of her father’s funeral, Luna announces that his ghost has come to visit her. What follows is part family drama, part dark comedy, and part haunting exploration of the emotional inheritance passed from one generation to the next.

The play opens with a funeral, and from the moment the family enters, it is clear that this will be no ordinary farewell.

Luna (Ireon Roach), her father’s favorite child, is overwhelmed by grief as she stands at the podium to deliver his eulogy. Her siblings seem considerably less interested in mourning. Eric (Victor Musoni), dressed in a white memorial T-shirt and sagging pants, and Leila (Sydney Charles), wearing a white dress that seems decidedly inappropriate for the occasion, give the impression they would rather be anywhere else. Their oldest brother, AJ (Gregory Fenner), a military man, stands rigidly at attention, as though guarding the proceedings at a state funeral.

Seated apart from the chaos is Maria (Shanesia Davis), the family matriarch, dressed in white, her face veiled and a white handkerchief close at hand. She carries herself with the solemnity of a woman accustomed to holding a family together, even when its members threaten to tear one another apart.

(from left) Alfred Wilson, Gregory Fenner, Shanesia Davis and Ireon Roach in The Gift Theatre's presentation of Hayward at Steppenwolf’s 1700 Theater. Photo by Joe Mazza / Brave Lux.

During the service, Luna sees her deceased father, Tony (Watson Swift). Her vision is quickly dismissed, but the encounter signals that something deeper is happening within this family. At the gravesite, the arrival of Uncle Johnson (Alfred Wilson), who is also a pastor, adds another layer of tension. There is little pastoral comfort in Johnson’s approach. He berates the family, directing particular hostility toward Luna because of who she is.

Religion, family expectations, and personal identity collide, and the resulting arguments reveal a household where love and resentment have become inseparable. The siblings fight, challenge one another, and expose old wounds, yet beneath their dysfunction is a recognizable bond. They may not know how to care for one another gracefully, but the connection remains.

At the center is Luna, whose grief is both the most visible and the most unsettling. Her father’s visits are not simply a supernatural manifestation of mourning; he has a request for her that reaches beyond the grave. As the family’s history unfolds, we learn that Tony served in the military during the Gulf War and returned carrying psychological wounds. The play suggests that the trauma he experienced did not end with him. His children, particularly Luna, may have inherited some of the emotional consequences without fully understanding their origins.

Walker’s most compelling achievement is her creation of characters who feel genuinely complicated. These are not tidy theatrical portraits of a dysfunctional family. They are people whose behavior can be outrageous, infuriating, and unexpectedly tender, sometimes within the same scene. The comedy emerges naturally from their interactions, offering relief without entirely diminishing the pain beneath the laughter.

Montgomery has assembled a strong ensemble and directs the actors with a clear sense of purpose. One of the production’s funniest moments comes when Maria sits center stage and her children gradually gather around her, one by one, as if seeking the comfort of the family’s center. When the last child arrives, Maria simply gets up and leaves them together. The gesture is hilarious, revealing, and familiar to anyone who has watched a family matriarch reach the limits of her patience. It is a moment best experienced rather than explained.

The scenic design is another notable achievement. The stage transforms from a church to a gravesite and eventually into the family’s living room. The final home setting is impressively detailed, providing a convincing domestic space in which the family’s conflicts can continue to unfold. My reservation is the time required to complete the transformation. Although the finished environment is effective, the process of getting there interrupts the production’s momentum.

Ultimately, Hayward is an entertaining and ambitious work that uses humor, supernatural elements, and family conflict to examine the lasting effects of trauma. Walker’s play is interested in the emotional territory families occupy: the memories they avoid, the wounds they pass along, and the love that survives even when they struggle to express it.

Still, the play would benefit from sharpening its central argument about mental health. Tony’s military service and the suggestion of inherited trauma offer fertile ground, but the relationship between psychological injury, family behavior, and Luna’s experiences could be developed with greater clarity. The subject deserves more than implication, particularly when the play so effectively demonstrates how one person’s unresolved pain can shape an entire household.

With its memorable characters, dark humor, and committed performances, Hayward offers a lively and often moving portrait of a family trying to find its way through grief. Like a Floridian-style shiva, the gathering is noisy, irreverent, and emotionally unpredictable. The dead may have been laid to rest, but in this family, the past is very much alive.

RECOMMENDED

When: Through Nov. 15

Where: Steppenwolf’s 1700 Theatre 1700 N. Halsted St. Chicago

Tickets: $45 - $50

Steppenwolf.org/hayward

JK Entertainment has released first look rehearsal photos for WHEN WE WERE YOUNG AND UNAFRAID, the first production of the company's second season. JK Entertainment's production brings this story to Chicago audiences November 12–29, inviting audiences to consider how far the fight for women's autonomy has come—and how much remains unresolved.

In a time before Roe v. Wade and the Violence Against Women Act, Agnes has transformed her quiet bed and breakfast into a refuge for women escaping domestic violence. But when Mary Anne, a new arrival, begins to influence Agnes's college-bound daughter, Penny, the carefully maintained boundaries of Agnes's world begin to shift. As ideas of freedom and independence take hold beyond the walls of her home, Agnes must confront her own assumptions about the women she has dedicated her life to helping.

Through intimate relationships and generational tensions, WHEN WE WERE YOUNG AND UNAFRAID examines the complexities of protection, independence, and what it means to determine one's own future. Though set more than five decades ago, the play raises questions that continue to resonate today.

JK Entertainment will donate $1 of every ticket sold to Connections for Abused Women and their Children, a Chicago organization that provides aid and resources for survivors of domestic violence.

Performances begin November 12, 2026, with tickets available now at jkentertainment.org/theatre/when-we-were-young-and-unafraid.

WHEN WE WERE YOUNG AND UNAFRAID is presented by arrangement with Concord Theatricals on behalf of Dramatists Play Service. www.concordtheatricals.com

TICKET INFORMATION
Individual tickets priced from $36 - $41 and group sales for 5 or more are available now. This production is a part of the full season subscription starting at $70. For additional information and to purchase tickets, visit jkentertainment.org/theatre/when-we-were-young-and-unafraid. 

Greenhouse Theater Center 2257 N Lincoln Ave. Chicago, IL 60614 November 12 – 29, 2026

ABOUT JK ENTERTAINMENT
JK Entertainment is a Chicago-based nonprofit producing theatre, film, music, and other media for audiences who think differently. Founded by Jonathan James, Kyle Reid Hass, and Olivia Kaye Da Silva, in the wake of a sold-out Chicago run of The Outsiders, the company champions bold, boundary-pushing work at the intersection of art and activism.

To learn more about JK Entertainment and keep up with future projects visit jkentertainment.orgFollow JK Entertainment on Instagram, TikTok, and  Facebook  #jkentertainment

Steppenwolf Theatre Company and Mark Cortale are pleased to announce the return of Tony Award-winning Broadway star Jessie Mueller (Beautiful: The Carole King Musical, Carousel, Waitress) playing three performances only December 18 & 19, 2026 in Steppenwolf's Downstairs Theater, 1650 N. Halsted St. in Chicago. The evening promises a seamless mix of intimate, behind-the-scenes stories prompted by funny, insightful and revealing questions from SiriusXM Radio star Seth Rudetsky (on piano) with music from Mueller's stellar career, plus a sprinkling of holiday favorites. 

Tickets cost $89* – $149*. A special Steppenwolf member pre-sale begins Tuesday, October 20, 2026 at 12 pm. Tickets go on sale to the general public Thursday, October 22, 2026 at 12 pm at steppenwolf.org/jessiemueller or by calling the Box Office at (312) 335-1650. *Pricing includes $10 handling fee

Performance schedule:

Friday, December 18, 2026 at 7:30 pm
Saturday, December 19, 2026 at 3 pm & 7:30 pm

About the Artists:

Jessie Mueller was most recently seen on Broadway in Tracy Letts' The Minutes. Previously, Jessie starred on Broadway in the revival of Carousel (Drama Desk Award, Tony, Grammy nominations). She originated the roles of Jenna in Waitress (Tony, Drama Desk, Grammy nominations) and Carole King in Beautiful: The Carole King Musical (Tony, Drama Desk, Grammy Awards). Other Broadway credits include Nice Work If You Can Get It and On a Clear Day You Can See Forever.  She will be returning to the Kennedy Center this Fall in Guys and Dolls. TV/film: Patsy & Loretta, Madam Secretary, Blue Bloods, Evil, Candy, Chicago Voices (Chicago Emmy nomination), Steven Spielberg's The Post, A Good Person and Secret Headquarters.

Seth Rudetsky spent many years on Broadway as a pianist and/or conductor on shows like Les Misérables, Ragtime and Phantom of the Opera, as well as two years as a comedy writer on The Rosie O Donnell Show (three Emmy nominations with his co-writers) which led to him writing two opening numbers for the Tony Awards. He is now the afternoon deejay on the SiriusXM Broadway channel, as well as the host of his own talk show, Seth Speaks. He has performed his show, Deconstructing Broadway in London, Boston (Irne award) and L.A. (with Barbra Streisand in the audience!). He co-wrote and co-starred in Disaster!! (a New York Times Critic's Pick) on Broadway, which was licensed by Music Theater International and is being performed all over the country. After the Pulse Nightclub shooting, James Wesley Jackson told Seth an idea he had of doing an all-star "What The World Needs Now Is Love" and they recorded it with around 50 stars including Carole King, Idina Menzel, Gloria Estefan, Bernadette Peters, Jessie Mueller ('natch!) and more. The single went to number one on iTunes, has raised over $100,000 for the Pulse nightclub victims and families, as well as the Trevor Project and they performed it at the 2016 Democratic National Convention. When the COVID lockdown began, Seth and James started the twice-a-day livestream Stars In The House with reunions of original casts of Broadway shows like Ragtime, A Chorus Line and Cats, as well as TV shows like Grey's Anatomy, Taxi and Frasier. The livestream raised over $1,000,000 for the Actors Fund and over $100,000 for other charities like NAACP LDF and "You Gotta Believe" for foster youth. Seth has published numerous books including "The Rise And Fall Of A Theatre Geek" (Random House) and the recent "Musical Theatre For Dummies". After October 7,  2023, Seth founded The Jewish Broadway Alliance which is now a 501(c)3. He also runs Seth's Broadway Cruise and will soon be sailing with some of his favorite stars to the Caribbean, Bermuda, The Greek Isles and the ABC Islands. You can get more info on his cruises and see tons of his videos at SethRudetsky.com.

Accessibility:

Steppenwolf is committed to making the theatergoing experience accessible to everyone. Assistive listening devices are available for every performance and all our spaces are equipped with an induction hearing loop. Our building features wheelchair accessible seating and restrooms, push-button entrances, a courtesy wheelchair and all-gender restrooms, with accessible counter and table spaces at our bars. For additional information regarding accessibility, visit steppenwolf.org/access. If you have questions or would like to make a specific request, email This email address is being protected from spambots. You need JavaScript enabled to view it. or call our box office at (312) 335-1650.

Sponsor Information: 

United Airlines is the Official and Exclusive Airline of Steppenwolf. Steppenwolf is also grateful for the significant season support from lead sponsors Allstate Insurance Company, Paul Angell Foundation, Bloomberg Philanthropies, Crown Family Philanthropies, Caroline and Keating Crown, Julius Frankel Foundation, Lefkofsky Family Foundation, Northern Trust, Anne and Don Phillips, John Hart and Carol Prins, Shubert Foundation, Inc, and Zell Family Foundation. Steppenwolf also acknowledges generous support from premier sponsors Anonymous, Andrew and Amy Bluhm, Michael and Cathy Brennan, Ann and Richard Carr, Chicago Community Trust, Rich and Margery Feitler, FROST CHICAGO, Lloyd A. Fry Foundation, Jessica and Dominic Green Family Fund, John D. and Catherine T. MacArthur Foundation, The Orlebeke Foundation, Sacks Family Foundation, Gary Sinise Foundation, Harold and Mimi Steinberg Charitable Trust, Thoma Bravo, and Bryan Traubert and Penny Pritzker. Steppenwolf also acknowledges support from the National Endowment for the Arts, Illinois Arts Council, and the City of Chicago Department of Cultural Affairs and Special Events.     

About Steppenwolf Theatre Company:

Steppenwolf Theatre Company is the nation's premier Ensemble Theater with 51 members who are among the top actors, playwrights and directors in the field. Thrilling, powerful, groundbreaking productions have made this theatre legendary. From the early phenomenon of Balm in Gilead, to The Grapes of Wrath, August: Osage County, Downstate, The Brother/Sister Plays, and more recently, the Pulitzer Prize and Tony Award-winning Purpose, Steppenwolf Theatre has had a long-running and undeniable impact on American Theatre and Chicago's cultural landscape. Founded in 1974 by Terry Kinney, Jeff Perry and Gary Sinise, Steppenwolf started as a group of friends in their teens and early 20s performing in the basement of a school in Highland Park, Illinois. Today, the company's artistic force remains rooted in the original vision of its founders: an artist-driven theatre, whose vitality is defined by its appetite for bold and innovative work. Every aspect of Steppenwolf is rooted in its Ensemble ethos, from the intergenerational artistic programming to the multi-genre performance series LookOut, to the nationally recognized work of Steppenwolf Education and Engagement which serves nearly 15,000 teens annually. While grounded in the Chicago community, more than 40 original Steppenwolf productions have enjoyed success nationally and internationally, including Broadway, Off-Broadway, London, Sydney, Galway and Dublin. Steppenwolf also holds accolades that include the National Medal of Arts, 14 Tony Awards, two Pulitzer Prize-winning commissions and more. Led by Artistic Directors Glenn Davis and Audrey Francis, Executive Director E. Brooke Flanagan and Board of Trustees Chair Keating Crown — Steppenwolf continually redefines the boundaries of live theater and pushes the limits of acting and performance.

Steppenwolf's Mission: Steppenwolf strives to create thrilling, courageous and provocative art in a thoughtful and inclusive environment. We succeed when we disrupt your routine with experiences that spark curiosity, empathy and joy. We invite you to join our ensemble as we navigate, together, our complex world. steppenwolf.org, facebook.com/steppenwolftheatre, twitter.com/steppenwolfthtr and instagram.com/steppenwolfthtr.

A gentle, tide‑easy current settles in right from the start, immediately signaling the kind of story this musical wants to tell. Rather than relying on big, splashy moments, it settles into a warm, beach-side rhythm, inviting the audience into a world where the pace is slower, the mood is lighter, and the soundtrack does most of the lifting. It’s a straightforward setup that frames the show’s island‑styled escapism - and Jimmy Buffett fans, the devoted Parrotheads, are the ones most likely to find the deepest enjoyment in the sunny, good‑natured spirit of Escape to Margaritaville, now playing at North Shore Center for the Performing Arts in Skokie.

The plot is about as simplistic as it gets, and the musical makes no attempt to complicate it - and wisely doesn’t try. This is a tropical resort fantasy through and through. Greg Garcia and Mike O’Malley’s book embraces the unhurried appeal of Jimmy Buffett’s catalog, following Tully, an unassuming island singer who’s perfected the art of keeping life simple. His routine of strumming for tourists and dodging commitment gets disrupted when Rachel, a driven, no‑nonsense researcher collecting soil samples for her environmental research, arrives with no interest in island romance. Their unlikely connection sets off a laid‑back, free‑wheeling story about unwinding, taking risks, and discovering that paradise has more to do with perspective than palm trees.

Music Theater Works’ production, directed and choreographed by Brenda Didier with co-direction from Sarafina Vecchio and choreography support from Clayton Cross, embraces the show’s escapist spirit with bright staging and a playful sense of fun. Linda Madonia’s music direction anchors the evening from above, leading a band perched atop the set and sending out a steady stream of easy-going, gentle sound. The placement and style add to the show’s illusion of an oceanfront getaway, as if the music itself were drifting in from somewhere just beyond the shoreline. The plot may be light, but that’s the point - this is a feel good, cocktail in hand comedy where the stakes are low, the energy is high, and the journey is as mellow as the island wind the characters keep singing about.

(L to R) Kate McQuillan and Brian Acker in JIMMY BUFFETT’S ESCAPE TO MARGARITAVILLE. Photos by Brett Beiner Photography.

Brian Acker brings a loose, sun-warmed charm to Tully, giving the beach-town, guitar-slinging singer enough sincerity to keep the character from drifting into pure caricature. His vocals land with clarity and confidence, especially in Buffett staples like “Margaritaville,” where he captures the relaxed swagger that defines the show’s tone. He’s immediately likable and effortlessly engaging. Acker’s performance makes Tully feel like the steady breeze that holds the spirit of the musical, and he dives into the character’s aesthetic with full commitment. He’s the quintessential casual beach guy - flip flops, baggy shorts, feathered hair, and a Hawaiian shirt that looks like it’s logged more sunsets than most vacationers.

Kate McQuillan’s Rachel is a sharp, engaging counterbalance, grounding the story with her focused energy and bright, assured voice. She shines in numbers like “It’s My Job” and “Fins,” bringing humor and heart to a character who could easily be played too straight. Together, Acker and McQuillan create an appealing opposites attract dynamic, especially in their duet “Coast of Marseilles,” where their voices blend with an ease that makes their connection feel genuine.

If Rachel is heading to a coastal destination for work, it makes perfect sense that she’d bring her best friend, Tammy along for the ride. Khaki Pixley’s Tammy is one of the production’s brightest assets, delivering buoyant humor with razor-sharp timing and a sweet, outgoing personality that consistently lifts every scene she enters. Her reactions, comedic beats, expressive voice, and kind presence land so well that her arc quickly becomes one of the show’s most enjoyable threads. When Chase Grabowski’s Brick (local bartender) eventually joins her storyline, his endearing, slightly hapless charm pairs beautifully with Pixley’s energy, giving their subplot an energetic, goofy momentum that often feels more engaging than the central romance.

The humor in Escape to Margaritaville often lands on the simpler side - broad, predictable, and occasionally so contrived that a few jokes slip past without much impact. It’s not unexpected, though. This is a Jukebox musical built from Jimmy Buffett’s sun-drenched catalog, and the story exists mostly as a loose framework for beach living, easy flirtations, and the reminder to stop taking life so seriously. The show rarely aims beyond that, and for many theatergoers, it doesn’t need to. Buffett fans in particular seemed fully dialed in; several audience members chimed in word for word when prompted, and a few even jumped in unprompted, turning certain moments into an impromptu Parrothead sing-along. It’s clear the musical resonates most with those already attuned to Buffett’s drifting tunes. And that connection wasn’t limited to the songs themselves.

And while the music is plentiful, a few musical numbers stand out more than others, especially when the show leans into its unapologetic silliness. “Why Don’t We Get Drunk & Screw” becomes a cheeky ensemble hand off, passed around with just enough sly irreverence to keep the moment playful rather than crude. “Cheeseburger in Paradise” delivers the burst of high spirited, indulgent fun audiences expect, and it also marks a personal breakthrough for Tammy, who finally lets herself enjoy something without the undeserved guilt her controlling fiancé has inflicted upon her. These numbers aren’t subtle, but they’re performed with a knowing grin - and they capture the musical’s willingness to jump into the louder, lighter corners of Buffett’s catalog.

Music Theater Works surrounds its leads with a spirited supporting cast that keeps the wave-easy antics humming. Tamara Batiest’s Marley offers strong vocals, grounded wit and a steady presence at the resort, providing a nice balance to the show’s more free-wheeling characters. Brian James’ J.D. brings an unforced, confident energy whenever he appears, adding texture without pushing beyond what the material calls for. The full ensemble delivers solid work throughout, particularly in the larger song and dance numbers, where their precision and coordination give the production some of its cleanest moments. Together, they help shape a world that feels carefree, lightly free-flowing, and appropriately tuned to Margaritaville’s unhurried atmosphere.

(center) Khaki Pixley with members of the cast in JIMMY BUFFETT’S ESCAPE TO MARGARITAVILLE from Music Theater Works.

Bob Knuth’s scenic design instantly drops the audience into a daylight‑washed island resort, complete with weathered wood, bright, beach‑toned colors, and the kind of relaxed bar setup that practically begs for a frozen drink. It’s the classic Margaritaville environment: part seaside hangout, part vacation fantasy, and just spirited enough to feel genuinely alive. Ab Rieve adds personality throughout with props that make the space feel lived‑in - cocktail blenders, beach gear, and all the little touches that sell the idea of a resort where anything can (and usually does) happen. Clare McKellaston’s costumes keep the surf-side energy high, dressing the cast in vibrant prints, light‑spirited resort wear, and vacation‑ready looks that pop under the lights, while Kristen Brinati ensures every wardrobe detail stays crisp from scene to scene. I truly enjoyed the set, which effectively transported the audience into the moment and grounded the shore-soft atmosphere. The production team does a fine job in building a getaway that feels like a ticketed trip to paradise.

October in Chicago has a way of nudging everyone indoors - gray skies, damp sidewalks, and that first hint of winter settling in. All the more reason to duck into a theater and spend a couple of hours somewhere warmer, brighter, and blissfully carefree. Escape to Margaritaville offers exactly that: a coastal reset button when the city insists on being chilly and unpredictable.

When Escape to Margaritaville made its pre-Broadway stop at the Oriental Theatre in 2018, I was tucked into a rear seat when a persistent glow kept flickering to my right. Someone was typing away on their phone mid show, pausing every so often to chat with the person beside him like he was running a private commentary track. After a few minutes, I leaned over and politely asked if he wouldn’t mind putting his phone away. He looked up, and I told him I was reviewing the show for Jimmy Buffett. Without missing a beat, he smiled and said, “I am Jimmy Buffett.” He was taking notes, whispering observations, and generally behaving like a man watching his own musical while conducting field research. Only Jimmy Buffett could turn mid-show multitasking into part of the entertainment.

He laughed, I laughed, and he explained he was jotting down notes on the show and the audience’s reactions. After the curtain call, we chatted, and in true Buffett fashion, he casually invited me to the post‑performance reception. It was the kind of easy, friendly gesture one wouldn’t necessarily expect from a major star - unless it was Jimmy Buffett. Jimmy was actually a little shy surrounded by his Parrotheads at the packed, island‑themed afterparty, until I invited him to join the celebration and led him by the hand into a circle of fans dancing to “Cheeseburger in Paradise.” He danced for some time, and while doing so, he beamed at me from the center of that exuberant moment, delighted in a way that felt almost childlike.

I didn’t realize at the time how much that passing exchange would matter. After his passing in 2023, I smiled to myself at the memory of how touching and important our chance encounter in the back of his theater premier really was. 

In staging Escape to Margaritaville, Music Theater Works pays genuine tribute to Jimmy Buffett’s legacy, channeling the warmth, playfulness, and island‑spirited generosity that defined both his music and the man himself. At two hours and twenty minutes (including intermission), the Buffett musical is a light, good-natured escape that provides an unruffled evening - an inviting couple of hours of coastal fun.  

Recommended.

Escape to Margaritaville runs through November 1^st at North Shore Center for the Performing Arts. For tickets and/or more show information, click here.

Chicago Shakespeare Theater’s production of The Winter’s Tale delivers a compelling evening of theater, showcasing an exceptional company of actors working at the top of their craft. Under the direction of Artistic Director Edward Hall, this staging marks an exciting experiment for the theater as the troupe performs in repertoire, set to follow this production with A Midsummer Night’s Dream in November. Though The Winter’s Tale remains one of Shakespeare’s lesser-known plays, Hall breathes fresh vitality into the work, framing it like a classic fairy tale. Playing a child, Felicia Oduh begins the show opening a picture book in view of a toy ship and a teddy bear, foreshadowing what is to come.

The piece opens with a joyous celebration as King Leontes tries to convince his childhood best friend, King Polixenes, to remain a little longer in his company. But the homesick royal denies every plea, until the beautiful Queen Hermione persuades him to stay. At her success, Leontes is suddenly possessed by jealousy, wondering why her efforts worked. His wild imagination corrodes his sanity quickly, and in no time, he’s envisioned a forbidden affair between his pregnant wife and his most loyal friend. His nobles fail to reel him in, and his madness drives him to forsake everything, even banishing his newborn daughter, only to discover his accusations had no merit. His only hope now rests in a prophecy and the hope that he’ll be reunited with his child one day.

This production thrives as a true ensemble piece, with the majority of the cast adeptly tackling dual roles. Demetrios Troy plays the maddened Leontes with fierce conviction, delivering an inspired portrayal of a ruler’s terrifying mental unraveling. Opposite him, Jessica Dean Turner brings raw emotion to Queen Hermione, grounding her betrayal in a profound, heartbreaking depth. Issy van Randwyck is a force to be reckoned with as Paulina. She commands the stage with a presence capable of calling down fire from heaven or piercing with her witty remarks dipped in uncompromising truth. Providing comedic relief, Kevin Gudahl and Dan Haller share delightful chemistry as the simple-minded shepherd and his son. Later, Sean Fortunato’s turn as the rogue Autolycus provides an absolute audience treat, creating a larger-than-life, hilarious scoundrel infused with a playful rock edge. His playful French accent was especially hilarious.

While the cast excels, the production’s main hurdles stem from the disjointed nature of Shakespeare's text. Act One functions as a powerful, high-stakes drama, illustrating how a poisoned mind can devastate love and life. Act Two, however, pivots sharply, opening with upbeat musical numbers, including a sequence featuring the cast as “baahing” sheep (one even relieves himself on stage). The second half feels in many ways like an extended tangent from the primary plot, as we’re promised a return to Leontes’ court. Still, while it’s a diversion, it is an entertaining one.

Also, no production of The Winter’s Tale would be complete without addressing the play's most famous stage direction, "Exit, pursued by a bear," and Chicago Shakespeare’s iteration does not disappoint. They unleash a creature that is truly the stuff of nightmares.

Despite the script's structural awkwardness, Hall has crafted an enjoyable and emotionally resonant piece of theater powered by artists who elevate every moment. The ensemble brings richness and warmth to these complex characters, capturing the audience’s heart while delivering laughter throughout.

Overall, this presentation stands as another triumph for Chicago Shakespeare Theater, proving that even Shakespeare's lesser-known works can shine brilliantly in the hands of a gifted company.

The Winter's Tale runs until December 12.

https://www.chicagoshakes.com/productions/2627-winters-tale/

The world premiere of The Hanukkah Humbug brings ghosts, history, tradition, and a whole lot of family fun to the Greenhouse Theater Center just in time for the holidays, Melanie Ann Apel promises a lively, family-friendly experience with this new play co-written by Melanie Ann Apel and Hayden Seth Apel.

A Joe & Melanie Thing Theatre Company is proud to announce its production of The Hanukkah Humbug, on stage at the Greenhouse Theater Center, 2257 North Lincoln Avenue, Chicago, 60614, December 3rd to December 6th. Tickets are on sale at www.greenhousetheater.org.  

This production of The Hanukkah Humbug is directed by Melanie Ann Apel and features a cast of Chicago area actors. Set in modern-day Chicago, the kids in Ms. Ben’s class are tired of the same old Christmas stories; they want to hear a story about Hanukkah! Alas, Ms. Ben doesn’t have a Hanukkah story to read to her class. "That's ok," says Rusty, "we can make up our own story, but Jewish!" And so begins a classic tale with a Hanukkah twist.

“We have created a delightful retelling of a classic, featuring the ghosts of Hanukkah past, present, and future; a brief history of the Jewish people; the traditions of Hanukkah; and a healthy dose of Yiddish,” says Director Apel. “We want to share the joyful traditions of Hanukkah with everyone, not just with Jewish families.”

Performance Schedule:

Wednesday, December 2 – 6:30 P.M. – Dress Rehearsal/Press Night

Thursday, December 3 – 6:30 P.M. – Opening Night (December 3)

Friday, December 4 – 6:30 P.M

Saturday, December 5 – 2:30 P.M. & 6:30 P.M.

Sunday, December 6 – 2:30 P.M Tickets: General Admission – $21

About A Joe & Melanie Thing Theatre Company:

We are Chicago-based artists who seek to bring original works to the stage. We are overly dramatic types who cannot resist the call of Muses. Since 2024 we have produced works of satire (Accidental Election of an Anarchist, 2024, and Vulcan Sleeping, 2025), familyfriendly fare (Hanukkah, Shmanukkah! 2025) and drama (Marbled, 2026).