Displaying items by tag: Chicago events

I’ll admit I had never seen, read, or even heard of Our Town before opening weekend. All I knew going in was that it was an old-timey, early 1900s American play with a young love story set in a small Northeast town. I’ve been to the Greenhouse Theater Center before and was looking forward to seeing another production in Lincoln Park. Lazy Susan Theatre Co. kicks off its fourth season with Thornton Wilder’s Our Town, a play Edward Albee called “the greatest American play ever written,” and it turned out to be a quiet, gentle show that sneaks up on you in the final act.

The evening begins before the play does. At the entrance of the theater, there was a map and pins for the audience to pick up and place on the town where they grew up. Naturally, I grabbed one and pinned my hometown of Lincoln, Nebraska. It was a fun touch that fit the play’s idea that Grover’s Corners could be any town, anywhere. Then, as I settled into the cozy upstairs theater, the whole cast gathered and sang John Denver’s “Take Me Home, Country Roads.” It was a warm, welcoming moment that made the small space feel like a front porch, and it flowed right into Act I.

Directed by Matthew Masino, the story takes place in Grover’s Corners, New Hampshire, beginning in 1901. The Stage Manager, played by Dontaye Albert, guides us through the town and the daily routines of the Gibbs and Webb families. Act I opens with a paper boy chatting with Dr. Gibbs (Timothy Griffin) as the town wakes up. Act II jumps ahead three years as neighbors George (Sam Jones) and Emily (Hannah Loessberg) fall in love and prepare to marry. Act III moves to the town cemetery, where the story turns somber.

The set is as simple as it gets: a wood floor, a stabilizing pole in the middle of the stage, two kitchen tables, some chairs, two ladders, a piano, and a little shelving. The actors improvise with imaginary cups, newspapers, plates, and even an invisible horse. This is by design, since Wilder’s script famously asks for “No Curtain, No Scenery” so that the audience focuses on the relationships. As a very visual person, I’ll admit it took some effort. The missing coffee mugs and kitchen set-up asked a lot of my imagination, though I understand the limits of a small-budget production. One of my favorite uses of the minimal set came when George and Emily climbed ladders to talk to each other from their bedroom windows. It was a simple, charming way to show the first sparks of their young love, and I enjoyed seeing how a couple of ladders could stand in for two houses. I later learned that the ladders are a common staple for the set design of this play.

The opening was the hardest part for me. The Stage Manager begins by mapping out Grover’s Corners, from the churches and homes to the farms and stores, and I had trouble picturing the layout and character of the town. Things settled once the story got going, with the paper boy, Dr. Gibbs, and the neighboring families going about their mornings.

Albert’s Stage Manager is the heart of this production. He carries the show with a smooth voice and strong storytelling, and he tosses in just enough comedy to keep the audience engaged. I enjoyed the little facts about the town, from its population to the land to the church denominations. At one point, he and Mr. Webb, the town’s newspaper editor, invite three audience members to ask questions about the town, including whether people drink, whether the town has any culture, and what it plans to do about its injustices. It’s a fun, interactive moment that make the play feel more alive.

Hannah Loessberg is another standout as Emily Webb. She is believable as a curious, bright young girl, with the mannerisms, joy, and excitement for life you would expect, and she looks young and full of promise. Over the course of the play, we watch her mature from a naive teenager to a young woman marrying George, and Loessberg captures that growth well. Then she shifts the mood completely in Act III, with believable anxiety and sadness as Emily faces her death and the life she’s leaving behind. The audience around me was clearly moved, and some were brought to tears.

Sam Jones and Hannah Loessberg in Lazy Susan Theatre Co.'s Our Town.

Sam Jones plays George Gibbs, and he’s a good fit for the part. He’s always on cue with his lines and shares strong chemistry with Emily. At times, I wasn’t fully convinced by him as a teenage boy, which may be partly because he’s so tall. He definitely comes across as juvenile, though there were a few moments where I could tell he was acting. In the graveyard scene, however, he cried real tears at the loss of his wife, which added to the emotion of that scene.

Lauren Slone is equally strong as Mrs. Gibbs, George’s mother. She owns her lines and delivers them with passion, and she is a convincing, strong-willed mother who works hard to keep her home running. Her performance takes a sharp turn in Act III. In the graveyard, she is hardened and stone-faced, with little to say and no joy left, which makes the loss of her character hit even harder.

Live music plays between scenes, mostly on piano and guitar. I loved it. It was upbeat and gave the show a charming rhythm as we moved between the Gibbs and Webb homes. The pianist turns out to be Daniel Martin, who also plays Simon Stimson, the town’s organist. Martin is a wonderful pianist and does a great job as a grumpy, pessimistic drunkard.

The lighting and sound design did a lot of work on a bare stage. The lights shifted to show the difference between day and night, and in the graveyard they captured the darkness and unease of the scene. Soft cricket sounds played during the night scenes and in the cemetery, which helped set the mood without any set pieces. This is one reason the graveyard still worked emotionally, even though I wasn’t fully convinced by the setting.

The costumes also didn’t fully match the setting. Some actors were dressed for the early 1900s, while other outfits looked like they came straight out of the 80s. A red windbreaker, jeans, and high-top sneakers felt out of place to me. Even on a tight budget, I wish there had been a little more effort to bring the costumes together.

The pacing was a bit slow for me in the first two acts. The love story builds gradually, and although the wedding was fun to watch, it lacked real drama. The piano transitions and the narrator kept me engaged, and the show picked up speed after the wedding. I do wish we had seen more of the life events leading up to the wedding and then the deaths, since the play skips ahead in time. That is how Wilder wrote it, but it left me wanting more.

The real drama comes in the final act. For most of the show, life in Grover’s Corners is simple and comforting, and no one faces real hardship until Act III. In the cemetery, we learn that Mrs. Gibbs has passed, that Emily has died in childbirth, and that Simon Stimson has taken his own life. The graveyard scene is dark and heavy, with the “dead” sitting still in chairs, and Emily realizes how badly she wants to be alive. The actors did a good job with it. Still, the lack of set design kept me from fully believing the graveyard, and I felt that scene needed more to sell it.

I walked out feeling a bit melancholy. The play leaves you with the dead in the graveyard wishing they had appreciated life more, and with Emily revisiting her own birthday, wanting nothing more than for her parents to really see her. It’s one of those plays that sends you home reflecting on your own life and wanting to be more present and joyful in everyday moments. The pin I placed in Lincoln, Nebraska earlier in the night had me thinking back to my own days growing up. The world around us changes day after day and year after year, and Our Town reminds you to appreciate the present and look around often.

The show runs about 2 hours and 25 minutes with two 10-minute  intermissions. I’d recommend it to anyone who loves American history and to anyone who enjoys supporting local theatre companies. If you’re in the mood for an old-time, thought-provoking story about enjoying life in the moment, because it can be unexpectedly taken from us even when everything feels comfortable and normal, this is a good pick.

Content Warning: Our Town contains themes of death and dying, discussions of mortality and the afterlife, and discussions of alcoholism, war, suicide, and death in childbirth. Act III, set in a cemetery, is especially heavy, so please keep this in mind when deciding whether the show is right for you or your family.

Our Town is playing at Lazy Susan Theatre Co. at the Greenhouse Theater Center, 2257 N. Lincoln Ave. in Lincoln Park, through December 13th. Performances are Thursdays through Saturdays at 8:00 p.m. and Sundays at 2:00 p.m. Tickets range from $19 to $34 and are available at lazysusantheatreco.org, with discounted tickets on HotTix.org. There is no late seating, so plan to arrive early.

There is something undeniably captivating about witnessing the magic of old-time radio brought to life on stage. In an era long before television dominated living rooms, talented performers relied solely on their voices, sound effects, and the audience's imagination to create entire worlds. What was once a staple of American entertainment has largely become a lost art, making productions like It's a Wonderful Life: A Live Radio Play feel especially rare and rewarding. I jumped at the chance to see this beloved holiday classic interpreted through such a unique lens, and part of the joy came from watching a small ensemble of actors seamlessly inhabit multiple characters throughout the evening. Equally fascinating was the foley artistry on display, as everyday objects were transformed into footsteps, slamming doors, storm winds, and countless other sounds before the audience's eyes. The result was not only a tribute to a bygone era of broadcasting but also a celebration of the creativity and craftsmanship that made radio storytelling so memorable.

From the moment audiences enter Citadel Theatre, they are welcomed into the world of WBFR's holiday broadcast complete with illuminated "On Air" signs and flashing applause cues. Rather than waiting for the action to begin, patrons are greeted by performers already bustling about the stage, making final preparations as though a live radio transmission is only moments away. The setting evokes the warmth and nostalgia of a 1940s broadcast studio, complete with four vintage-style microphone stands, a prominently placed sound effects station, and festive holiday touches that create an inviting, cozy atmosphere. Scenic Designer Bob Knuth's richly detailed studio, complemented by Rachel M. Spyniewski's period-perfect costumes and Reiley Duffy's carefully curated properties, fully immerses audiences in the era. Wood-paneled walls, vintage furnishings, and authentic broadcast touches further enhance the illusion of stepping back in time. Before a single line is spoken, viewers feel less like theatergoers and more like guests witnessing a special Christmas Eve radio event.

Joe Landry's inventive stage adaptation of Frank Capra's beloved 1946 film It's a Wonderful Life, famously starring James Stewart and Donna Reed, transports audiences to a 1946 radio studio where a troupe of performers brings George Bailey's story to life. A devoted husband, father, and lifelong resident of Bedford Falls, George has spent years placing the needs of others ahead of his own dreams. Facing a personal crisis on Christmas Eve, he finds himself questioning the value of his life until a visitor from above offers an extraordinary glimpse into what the world might have looked like had he never existed.

Brian Parry in Citadel's It's a Wonderful Life: A Live Radio Play. Photos by Ralph Durham Photography.

What unfolds is a heartfelt reminder of the profound impact one person can have on family, friends, and an entire community. By framing the story as a live radio broadcast, the production adds an extra layer of charm, inviting audiences to appreciate both the timeless emotional power of George Bailey's journey and the remarkable theatrical ingenuity required to create it in real time.

Director Jack Hickey assembles a remarkably talented ensemble that fully embraces the demands of the live radio play format. What could easily become a gimmick instead serves as one of the production's greatest strengths, as actors effortlessly shift between multiple characters, often changing personalities, accents, ages, and emotional registers in a matter of seconds. The transitions are so fluid that audiences never struggle to distinguish one character from another, despite the intentionally minimalist presentation. Particularly impressive are the moments when performers engage in conversations with themselves, adopting entirely different vocal identities with remarkable clarity and precision. The cast's ability to create such a vivid world using little more than voice, timing, and imagination speaks volumes about both their talent and the enduring power of storytelling.

Leading the company is Brian Parry, known to Chicago audiences for acclaimed portrayals of Willy Loman, King Lear, and Richard Nixon. As radio actor Freddie Filmore, Parry brings an appropriately imposing presence to Mr. Potter while also lending distinctive voices to characters such as Mr. Drucker and Uncle Billy. Jake Harrison Murphy and Rachel J. Jones anchor the evening as radio performers Jake Laurents and Sally Applewhite, seamlessly portraying George and Mary Bailey along with several additional roles. Meanwhile, John Dooley, as Harry “Jazzbo” Haywood, and Cait Kelly, as Lana Sherwood, prove indispensable as they cycle through a seemingly endless roster of supporting characters. Each performer develops distinct vocal patterns and mannerisms that make every role feel fully realized, regardless of stage time.

Caleb Ryan Jones as both the stage manager and foley operator.

Adding another layer of authenticity, Caleb Ryan Jones serves as both radio stage manager and foley artist, generating a steady stream of sound effects that become a source of fascination in their own right. Equally delightful are the vintage-style commercials woven throughout the program. Watching the performers transition from playing George Bailey and the citizens of Bedford Falls to enthusiastically delivering old-fashioned radio advertisements adds even more appeal to the evening while reinforcing the illusion that audiences are witnessing a genuine live broadcast from the 1940s. Under Hickey's assured direction, the entire company works in seamless harmony, transforming a familiar holiday favorite into a lively celebration of theatrical ingenuity and old-fashioned storytelling.

In the end, Citadel Theatre's production is far more than a clever exercise in nostalgia. It is a lovingly crafted reminder of why It's a Wonderful Life has endured for generations. Through sharp performances, inventive sound design, and a genuine affection for both the source material and the golden age of radio, the company transforms a familiar holiday story into an engaging theatrical event. Whether audiences come for the beloved Christmas tale or the rare opportunity to witness the artistry of live radio drama, they are likely to leave with renewed appreciation for both and perhaps a fresh reminder of the lasting impact one life can have on countless others.

Whatever form it takes, It's a Wonderful Life has become an annual Christmas tradition for countless families. Whether revisiting Frank Capra's beloved film starring James Stewart and Donna Reed, attending a theatrical adaptation, or experiencing the story through the lens of a live 1946 radio broadcast, its message remains as timeless as ever and its story every bit as engaging. As someone who can happily revisit all three and still come away wanting more, I suspect fans of the Capra classic who have yet to experience the radio-play version will find this production especially fulfilling.

Recommended.

It's a Wonderful Life: A Live Radio Play and is being performed through December 13^th at Citadel Theatre in Lake Forest with a running time of 90 minutes and no intermission. For tickets and/or more show information, click here.

Dante 360 Virgil Edition is the latest iteration of a performance work first launched in 2021. Directed by Peggy Garvey, the recurring presentations are billed as an education program, aimed to illuminate 14th century Italian poet Dante Alighieri’s three-part Divine Comedy, which traces an imagined journey through hell (The Inferno); purgatory (the Purgatorio) and heaven (the Paradiso). Written by Elizabeth Lev, an art historian (and scholarly guide during the show) each version focuses on a perspective of a different historical character who figures in Dante’s poem.

The production includes famous artwork inspired by the Divine Comedy, Botticelli through William Blake, dance, Dante’s poetry, and recordings of both ancient and classic musical, as well original works scored by Michael Alan Anderson. Singers of the Schola Antiqua Ensemble perform live, quite hauntingly. 

The show opens with Lev at a lectern, a vibrant and animated speaker who stirs excitement and anticipation for the show to follow. Lev has a PhD in art history from the University of Bologna, and she resides in Italy with her family. With a TED Talk online with 1.6 million views, Lev is both credible and inspiring, and reappears at welcome intervals delivering context for the slices of Dante’s poem that we will see visualized on stage. She tells a powerful personal story of being moved to baptize her children, inspired by Dante’s descriptions of unbaptized souls trapped in purgatory, including the great Roman poet Virgil (played by Mike Rogalski), Dante’s escort in the poem and on stage. Lev also lets us know Dante’s writing was the first great work written in vernacular Italian.  At times, Lev tells us, when existing words were inadequate to his vision of the afterlife, he created new ones.

When Lev finishes, an Elder Dante (Curtis Powell) launches into lines from the opening of the Divine Comedy. Seated at a wooden writing desk, Elder Dante speaks first in Italian, then English in the translation by John Ciardi. This is what we came for. On stage a younger Dante (Alex Schultz) enacts scenes, usually wordlessly, and the host of actors join him at various points. Tall banners serve as screens for patterns and representations of the artworks, beautifully set in motion. (Nicholas Taboni is Projection Designer and Media Designer; Mike Goebel is Technical Director and Lighting Designer.) 

A host of actors bring to life the characters from Dante’s poetry selected for this view of his masterwork. Beatrice (Rae Lindenberg), the unrequited love of his life who died, speaks at various moments, and serves periodically as Dante’s coach and inspiration, and his guide into paradise, where the poet imagines her soul lives on. 

One memorable scene in hell finds lovers Francesca (Katie Wasserman) and Paolo Maletesta (Hayden Lane-Davies), killed during an adulterous affair, condemned in Dante’s mind to toss in winds to and fro, seeing each other in passing but never able to embrace. He is able to stop them for a moment to question them before they return to their perpetual suffering. They stop just for a moment, separately, to converse with Dante, then are picked up again by the continuous winds to which they are condemned for eternity.

All this sounds pretty good, but as an audience member, past these memorable moments at the outset, it grinds on and becomes tedious. There are high points borne of the imaginative Dante, such as Thomas Aquinas (James Turano is excellent) singing the praises of Francis of Assisi. But Rogalaski’s recitation of Dante’s verse didn’t seem lyrical, making it less compelling, for me, anyway.  

What we get is an expression of the conviction and passion that Lev has for Dante’s Divine Comedy. That comes across. I wish I had heard more of her throughout the two hour and thirty minutes (one intermission). Somewhat recommended, Dante 360 Virgil Edition runs through November 15, 2026 at the Athenaeum Center in Chicago.

Almost fifty years after she first sang her way into Broadway history, the sun is still shining bright in Oakbrook Terrace as Drury Lane Theatre brings the beloved holiday classic Annie back to its stage for the first time in over a decade. Directed by Scott Weinstein and starring young powerhouse Emerson Mae Chan in the title role on opening night (with Catharina Araujo playing the part at select performances and Kate in others), this lavish seasonal revival captures all the Depression-era charm and infectious optimism of the original 1977 hit. From the opening notes of the overture, Drury Lane delivers a polished, crowd-pleasing take on a familiar favorite.

The story never gets old and remains a warm tale of resilience and hope. Set in New York City during December 1933, Annie follows an irrepressibly optimistic 11-year-old streetwise orphan determined to find the birth parents who left her on the steps of the New York City Municipal Orphanage a decade earlier. Armed with only half of a silver locket and a handwritten note promising they would return for her, Annie endures the daily misery of the orphanage’s bitter, scheming matron, Miss Hannigan. But her luck takes a dramatic turn when Grace Farrell, the warmhearted personal secretary to billionaire industrialist Oliver Warbucks, selects Annie to spend the Christmas holidays at Warbucks' Fifth Avenue mansion. Though initially awkward around children, the gruff tycoon is quickly charmed by Annie's pluck and determination, growing so fond of her that he asks to adopt her himself. When Annie gently declines - still holding out hope of finding her real parents - Warbucks vows to help her search, eventually offering a massive cash reward, and enlisting some help from none other than President Franklin D. Roosevelt. Predictably, the promise of a payout attracts the greed of Miss Hannigan, her swindler brother Rooster, and his accomplice Lily St. Regis, sparking a frantic race for Warbucks to expose their con and give Annie a true home just in time for Christmas.

Kelly Felthous as Miss Hannigan in Annie at Drury Lane Theatre. Photos by Justin Barbin.

Weinstein’s direction keeps that familiar plot moving at a brisk, buoyant pace, anchored by standout performances across the board. After two years of touring full-time, Emerson Mae Chan returns home in her Drury Lane debut, capturing Annie’s spunky spirit with effortless charm, hitting her funniest lines with great timing and delivering a nice vocal highlight on “Tomorrow” - the signature number that defines Annie’s sunny outlook. Anand Nagraj delivers one of my favorite performances of the evening as Oliver “Daddy” Warbucks, impressing with both his strong baritone vocals and his nuanced acting. Rather than playing the billionaire as a one-note caricature, Nagraj brings genuine warmth and subtle humor to the role, making it a treat to watch his guarded exterior soften as his heart fills with love and he finds his childlike joy again. Meanwhile, nobody commands the stage quite like Kelly Felthous as Miss Hannigan, who delivers a gloriously unhinged, standout comedic performance from her very first entrance. She makes the iconic villainess unmistakably her own. Felthous is joined by Jackson Evans (Rooster) and Amanda Walker (Lily St. Regis), who each score solid laughs in their roles and help turn “Easy Street” into a high-energy highlight. Elsewhere, Allison Sill impresses vocally as Grace Farrell, lending a calming, assured presence whenever she steps onstage.

A large, energetic ensemble gives the entire production an undeniable lift. The young performers portraying the orphans often take center stage with sharp timing and genuine personality, holding their own alongside a hard-working adult ensemble that fills out the show's many worlds - stepping into everything from street vendors and radio performers to servants and politicians with ease.

Equally irresistible is Georgie, the real live dog playing Annie’s loyal companion, Sandy. Well-behaved and utterly endearing onstage, Georgie melts the theater on contact - every appearance triggers a chorus of affectionate "awwws" from the audience.

Georgie as Sandy and Emerson Mae Chan as Annie in Annie. 

One of my favorite moments in the show arrives in Act II during a trip to the White House, where Annie interrupts a tense, pessimistic meeting between President Roosevelt (wonderfully played by Ron E. Rains) and his Cabinet as they struggle to pull the country out of the Great Depression. While his advisors bicker over grim economic forecasts, FDR turns to Annie for her perspective, sparking a playful back-and-forth that perfectly captures her ability to find a silver lining in everything. Sharing her simple philosophy that the sun will always come out tomorrow, Annie wins over the President - who nudges his gloomy Cabinet members to take her advice to heart before joining her in a spirited reprise of "Tomorrow" that turns a dreary policy session into a lively sing-along.

Another standout sequence was the live radio broadcast scene, which offers a fun glimpse back in time at how an old-school radio show operated - complete with a scene-stealing foley operator whose deadpan, almost-bored demeanor suggested every sound effect was pure second nature.

Visually, the production strikes a rich, theatrical balance. Under the crisp musical direction of Julia Schade, the live orchestra brings Charles Strouse’s definitive score vibrantly to life. Tijana Bjelajac’s scenic design effortlessly transitions between the bleak, shadowy grays of 1930s Hoovervilles and the warm, gilded grandeur of the Warbucks estate. Paired with Mara Blumenfeld’s period-authentic costumes and Jose Santiago’s atmospheric lighting, the staging highlights the stark economic contrasts of the era while keeping the holiday magic front and center. Mara Newberry Greer’s crisp, athletic choreography gives the young performers plenty of room to shine, particularly during high-energy numbers like "It’s the Hard-Knock Life" and "You’re Never Fully Dressed Without a Smile."

Ultimately, Drury Lane’s Annie succeeds because it treats its classic material with genuine affection rather than mere nostalgia. By pairing strong performances and polished stagecraft with an honest, heartfelt approach to the story, the production reminds audiences why this scrappy orphan has endured for nearly half a century without ever feeling dated or overly saccharine. Running at Drury Lane Theatre in Oakbrook Terrace through January 10, this joyous revival makes for the perfect holiday treat for the entire family.

Recommended.

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

Disney's Frozen the Musical arrives at Marriott Theatre's intimate in-the-round stage with a story most audience members already know, though its enduring appeal relies on far more than ice castles and snowstorms. At its center is a moving tale of two sisters struggling to reconnect after years of fear and misunderstanding. Surrounding the audience on all sides, the production draws patrons directly into the kingdom of Arendelle, where family ties prove stronger than any spell.

The musical follows Princesses Anna and Elsa, whose childhood changes forever when Elsa's unexplained ability to create ice and snow accidentally puts her younger sister in danger. As Elsa grows older, she retreats into isolation, afraid her powers will hurt the people she loves. When those abilities are exposed during her coronation as queen, Elsa flees into the mountains, unintentionally plunging Arendelle into an endless winter.

Refusing to give up on her sister, Anna sets out to find Elsa and save the kingdom. Her journey introduces her to the rugged ice harvester Kristoff, his loyal reindeer Sven, and the endlessly optimistic snowman Olaf. Together they navigate frozen landscapes, unexpected obstacles, and long-buried truths as Anna searches for a way to bring Elsa home.

While the show delivers plenty of humor, adventure, and recognizable songs, its real strength lies in its focus on acceptance and unconditional love. As Anna and Elsa confront the fears that have kept them apart, Disney's Frozen the Musical reminds audiences that true love does not always look like a fairy-tale romance. Sometimes it means having the courage to accept who you are and holding tight to family.

The production is led by Morgan Anita Wood as Elsa and Chloé Nadon-Enriquez as Anna, whose sisterly relationship anchors the entire evening. Wood is fabulous in the role; her voice is truly special because she combines disciplined, commanding vocal range with an effortless, rich, and velvety tone that you simply cannot teach. Opposite her, Nadon-Enriquez is a ball of energy whose lively animation completely wins over the crowd, delivering plenty of laughs alongside enjoyable singing.

Chloé Nadon-Enriquez as Anna and David Terrell Moreland as Kristoff in Marriott Theatre's production of Disney's Frozen the Musical. Photo by Justin Barbin.

They are joined by David Moreland, who delivers an earnest, disarming, vocal-rich performance as Kristoff. Fresh from his riveting, powerhouse lead turn in Jekyll & Hyde - a collaboration between Broadway In Chicago and Kokandy - Moreland proves he is a talent to watch. Rounding out the principal cast are Nick Berninger as the ever-cheerful Olaf and Justin Albinder as a smoothly charming Hans, both helping bring the beloved world of Arendelle to the stage. The puppetry is equally impressive, with Olaf (designed by The Rock Shop) and the reindeer Sven (designed by Jesse Mooney-Bullock) bursting with personality. Like Berninger, Garrett Lutz brings Sven to life with remarkable skill, operating the puppet with expressive movements that make the character feel genuinely alive. Their work is further supported by a talented, richly utilized ensemble that fills the stage with memorable townsfolk, bustling crowd scenes, and lively theatrical touches.

The score remains one of the show's biggest draws, with crowd-pleasing favorites such as "Let It Go," "Do You Want to Build a Snowman?," "For the First Time in Forever," and Olaf's delightful "In Summer" earning enthusiastic applause. The stage adaptation also benefits from several numbers written specifically for Broadway, most notably Elsa's soaring "Monster," which digs deeper into her inner turmoil.

Much of the production's success belongs to the creative team. Ashley Rodbro's direction keeps the characters' relationships front and center, even during the splashier production numbers. Katie Spelman fills the space with choreography that feels purposeful rather than decorative, and Ryan T. Nelson's music direction gives the score warmth and clarity, helping the cast tackle big vocal demands with confidence. Visually, the design turns the theater into a winter wonderland. From the moment audiences walk in, they are greeted by a snowy Arendelle artfully staged in the round, complete with dazzling special effects that bring the magic right to their seats. Swirling snow falls on and around the stage and wraparound lightboards encircling the theater shift dynamically with the action, flaring to life with icy brilliance whenever Elsa unleashes her powers.

Disney's Frozen the Musical succeeds because of the genuine humanity running through its core. Beneath the dazzling stagecraft, Elsa’s ice powers serve as a poignant metaphor for the truths we fear are too dangerous, too different, or too overwhelming to share with the world. The endless winter that overtakes Arendelle becomes more than a fairy-tale curse; it reflects the quiet, aching isolation we create when we lock away our authentic selves out of fear of hurting the people we love. Ultimately, the story reminds us that shame thrives in secrecy, and that real thaw only begins when we allow ourselves to be fully seen and accepted. Marriott Theatre's immersive staging delivers that message of forgiveness and self-acceptance with real theatrical flair.

Running November 4, 2026, through January 3, 2027, Disney's Frozen the Musical is a crowd-pleasing holiday outing that will delight longtime fans while welcoming a new generation to Arendelle.

Recommended.

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

Join PlayMakers Laboratory (PML) for some jolly belly laughs at the family-friendly sketch comedy show That's Weird, Grandma: A Holiday Celebration!, playing five performances only December 4 – 13, 2026 at the Neo-Futurist Theater, 5153 N. Ashland Ave. in Chicago. Tickets are currently on sale at www.playmakerslab.org.

Directed by Executive Program Director Brandon Cloyd, the cast include Company Members Jen Allman, Noah Appelbaum, Lola Fratto, Ruby Gibson, Sonia Goldberg, Maddy Grady, Indira Gutiérrez Marrero, Barry Irving, Sam Nieves, Brad Stevens and Lexy Weixel.

That's Weird, Grandma features adaptations of stories written during PML's creative writing residencies in Chicago elementary schools. PML's ensemble of professional actors, comedians and musicians bring the young authors' stories to life as raucous sketches, songs and movement pieces, performing first for students in their schools and then for the public. These stories – from hilarious dialogues between unlikely characters to poignant pleas for social change, along with holiday-inspired sketches– all resonate with adults while celebrating the imaginations of young people.

Production team: Jen Allman (Assistant Director), Lex Turner (Stage Manager).

Performance Schedule:

Friday December 4 at 7 pm

Saturday December 5 at 2 pm

Sunday December 6 at 2 pm

Saturday December 12 at 2 pm

Sunday December 13 at 2 pm

Ticket Prices: $26.50 adults; $16.50 youth aged (4 – 15). Free for children 3 and under. Tickets are currently on sale at www.playmakerslab.org. *Ticket prices include a $1.50 processing fee

About the Director

Brandon Cloyd joined PlayMakers Laboratory in 2007 and has been deeply involved in many facets of the company ever since. Prior to joining PML, Brandon graduated from Northwestern University with a Bachelor of Arts in Theatre and a minor in Business Institutions. Brandon has held many roles in PlayMakers Laboratory before becoming the company's Program Director in September 2017. He served with PML as an actor, teaching artist, lead teacher, a member of Teacher Corps, as well as directing shows for schools and public performances of That's Weird, Grandma. Outside of PML, he worked as the Associate Director of Camp Echo, where he spent 13 summers managing campers and staff at a co-ed sleep away camp in Upstate New York. Brandon has worked with other theatre companies including Urban Theatre Company, American Theater Company, Filament Theatre, InGen Productions, ACLE's Teatrino in Italy and a founding director with Purple Crayon Players at Northwestern University. Brandon is also a former board member for the League of Chicago Theatres.

About PlayMakers Laboratory

For 29 years, PlayMakers Laboratory has served Chicago Public School students by providing a creative writing residency program aimed primarily at elementary schools. Our company of over 60 teaching artists utilize creative drama and storytelling to promote literacy and self-esteem during our in-school residencies and park district programming. Each year, our programs serve more than 4,000 young people across Chicago. In our six-week writing residencies, a whopping 88% of students improve writing scores by at least one level over the course of our residencies. Plus, 100% of classroom teachers report that our program supports their student's writing and improves confidence and self-esteem.

PlayMakers Laboratory is sponsored in part by Chicago Department of Cultural Affairs and Special Events, The Crown Family Philanthropies, The Field Foundation, The Mardi Gras Fund, Illinois Arts Council, Paul M. Angell Foundation, The Polk Bros Foundation, Siragusa Family Foundation, S&C Electric and generous individuals like you!

Award-winning Redtwist Theatre announces the cast and creative team for this added special engagement to its 2026 - 2027 season, the world premiere of Flying Monkeys, produced in collaboration with the New Theatre Project, December 6 - January 17, 2027, by L.C. Bernadine and directed by Robert Falls, at Redtwist Theatre, 1044 W. Bryn Mawr Ave. The running time is 100 minutes, with no intermission. Preview performances are Friday, Dec. 4 and Saturday, Dec. 5 at 7:30 p.m. The regular performance schedule includes Wednesdays through Saturdays at 7:30 p.m. and Sundays at 3:30 p.m. with some dates adjusted for the holidays. General admission tickets are on sale now for $50; senior and veteran tickets are $35; student tickets are $10; industry tickets are $25; access tickets are $35 and Fridays performances are Pay-What-You-Can with subscriptions to the 2026 - 2027 season also available at RedtwistTheatre.org. 

Chicago is a city where, when all goes well, theater happens at every scale. Just weeks after Robert Falls directed Don Giovanni at the almost 3,500-seat Lyric Opera of Chicago, Falls directs Flying Monkeys, a new play by Chicago playwright L.C. Bernadine, at Edgewater’s Redtwist Theatre, an intimate venue of just over 35 seats. 

Flying Monkeys follows two transport agents working in the so-called “troubled teen industry.” Hired by a desperate mother, they arrive in the middle of the night to legally take her 15-year-old daughter from her home and deliver her to a residential treatment program across the country. What begins as a job governed by contracts and procedure becomes increasingly complicated as everyone involved is forced to confront what they believe desperation can justify.

Falls read the play earlier this year and was drawn both to its subject and to the opportunity to stage it in an extremely intimate venue. “I’ve been an admirer of L.C. Bernadine’s plays for quite a while,” said Robert Falls. “She has a very distinctive voice — tough, funny, poetic and completely her own — and Flying Monkeys feels to me like an especially exciting new work. It takes on difficult, volatile material without reducing anyone to a type or telling us too quickly what to think. The play keeps shifting under you: your sympathies move, your assumptions get challenged and what at first seems morally clear becomes much more complicated. There are no easy villains and no easy answers, which is exactly what I find so compelling about it.” 

For Falls, the shift from Lyric Opera to Redtwist reflects something essential about Chicago theater. He continued, “I cut my teeth in Chicago at Wisdom Bridge Theatre, one of the city’s first storefront theaters, a small space up two flights of stairs over a bar and a violin repair shop on Howard Street. I spent more than a decade of my life there, so coming to Redtwist really does feel like a homecoming. It’s one of Chicago’s finest theaters and there’s something about being back in a room this intimate that takes me right back to where I began.” 

“L.C. Bernadine has been an incredible friend and collaborator over the past few years, welcoming me to Chicago when I first made the move,” says Redtwist Artistic Director Dusty Brown. “After working together on the Independent Productions Initiative, I jumped at the opportunity to collaborate artistically with L.C. on her new play. Bringing Bob Falls on to direct spoke to the very thing that drew me to Chicago in the first place, the most incredible artists in the world can be found in the least likely of places. Some of our country’s greatest artists started their careers in Chicago storefronts and Bob Falls’s return is a reminder that artistic merit can’t be judged simply by the size of the theatre.”

Redtwist Theatre is producing Flying Monkeys in collaboration with the New Theatre Project. Peter Handler and Spencer Huffman will serve as producers. Founder of the New Theatre Project Spencer Huffman said, "Since our first production in 2024, L.C. has been pivotal in New Theatre Project's success as a producer. When the opportunity arose to co-produce her excellent new play with Bob directing, we jumped at it. This collaboration captures something essential about the Chicago theatre: the city's most notable director teams up with two small storefronts to produce a new play by an under-the-radar Chicago playwright. It's so exciting."

The cast of Flying Monkeys includes Skylar McClure (she/her, Gina); Anne Trodden (she/her, Kinnie); Ethan Cerros (he/him, Tim); Drew Longo (he/him, Blayber); Macaria Chaparro Martinez* (they/she, Nash); Alexandria Bressette (she/her, Gina U/S); Caitlin Jemison (she/her, Kinnie U/S); Samuel Yoder (he/him, Tim U/S); Ben Auxier (he/him, Blayber U/S) and Maddy Hudson (she/her, Nash U/S).

The creative team of Flying Monkeys includes L.C Bernadine (she/her, playwright); Robert Falls (he/him, director); Emily Blanquera (she/her, assistant director); Sofie Schmeltzer* (they/them, stage manager); Kat Coyle (she/her, violence coordinator); A Inn Doo (she/her, scenic designer); Nicholas Bartleson (he/him, props designer); Eric Watkins (he/him, lighting designer); Kat Poon (she/her, costume designer); Ethan Korvne (he/him, composer & sound designer); Jeff Brain* (he/him, technical director); Charlie Tolbert (they/them, scenic charge artist); Ruby Lowe (they/she, master electrician): Joshua Servantez* (he/him, casting director) and Dusty Brown (they/them, executive artistic director).  

*denotes Redtwist Theatre ensemble member

ABOUT L.C. BERNADINE, playwright 

The author of numerous plays and a frequent collaborator with The New Theatre Project, Bernadine was recently profiled in Newcity's "50 Players" as founder of the Independent Productions Initiative, which supports work outside ongoing companies. Her plays include The Whole Seamus Thing, co-written with Ben Auxier (Bramble Theatre); Welcome J-1 Students (University of Alabama Theater); Is You Is, a musical co-written with Nik Whitcomb and Erik Olsen about the 1930s “Races of Mankind” exhibit at The Field Museum (DCASE’s Chicago Cultural Center New Play Residency and then Broadway Rose Theatre, Portland, Oregon) and The Virginian, co-written with Spencer Huffman (City Lit Theatre). 

ABOUT ROBERT FALLS, director

Over a career spanning more than four decades, Robert Falls has directed new plays and reimagined classics, large-scale musical theater and opera in the United States and internationally. He began his career at Chicago’s Wisdom Bridge Theatre and later served as artistic director of Goodman Theatre for 35 years. His most recent productions include Richard Greenberg’s Holiday at the Goodman and Peter Shaffer’s Amadeus at Steppenwolf Theatre Company.

Falls’ many Broadway credits include Death of a Salesman, Long Day’s Journey into Night, Horton Foote’s Pulitzer Prize-winning The Young Man from Atlanta and Elton John and Tim Rice’s Aida.

His honors include a Tony Award, Drama Desk Award, Obie Award, Helen Hayes Award, multiple Jeff Awards and the Savva Morozov Diamond Award from the Moscow Art Theatre. He was inducted into the Theater Hall of Fame in 2015.

ABOUT NEW THEATRE PROJECT, producer

The New Theatre Project is an independent theatre collective based in Chicago. The New Theatre Project intends to put artists at the far edge of their abilities so that they must discover something new to succeed. They believe there is nothing more moving than an artist on the brink. This process of artistic risk and discovery defines their work.

Five years in, The Second City's Black Excellence Revue continues to bring bold comedy, fresh perspectives and an unmistakable sense of joy to the Chicago stage. Returning February 5 – March 13 to UP Comedy Club, the annual production celebrates Black creativity and comedic talent with an all-new lineup of original sketches, music and The Second City's signature improvisation. Now in its fifth year, the revue has become a much-anticipated part of the theater's season, showcasing the voices and talents of Black performers and creatives while finding plenty to laugh about along the way.

Rob Wilson returns to direct this year's production, featuring a standout cast: E.J. Cameron, Montrez Hawkins, Chandra Russell, Kimberly Michelle Vaughn, Lauren Walker, and PJ Walker. Tony Belsito returns as Music Director and Laura Courtney joins as Stage Manager.

The 2027 Black Excellence Revue runs February 5 – March 13, 2027, with performances on Fridays at 8pm and Saturdays at 6:30pm and 9:30pm in February. Performances in March are on Saturdays at 8pm only. All performances take place in UP Comedy Club, located at 230 W. North Ave., on the third floor of Piper's Alley in Chicago.

Tickets start at $39.00 and are available at The Second City Box Office, by phone at 312-337-3992, or online at www.secondcity.com. For groups of 16 or more, contact This email address is being protected from spambots. You need JavaScript enabled to view it. for exclusive deals.

Want a behind-the-scenes experience? Don't miss Black Excellence Sketch Pad, an exclusive look at the creation of this year's show. Catch the comedy taking shape during previews on January 7, January 14, and January 28 at 7pm in Donny's Skybox at Second City. Tickets for these previews are just $5.

About the Artists

TONY BELSITO (Music Director) is a Chicago-based musician and performer originally from Duluth, Minnesota. Tony previously served as music director for The Second City's National Touring Company (RedCo) and plays guitar in the local supergroup Kid Copter, signed to Ersatz Records.

E.J. CAMERON (Ensemble) is an alum of The Second City's e.t.c. (Grinning from Fear to Fear and The Best Decision You Ever Made) and Mainstage (Do the Right Thing, No Worries If Not) and is excited to return for this show. He has also performed and trained at iO and ComedySportz.

LAURA COURTNEY (Stage Manager) graduated from Illinois College in 2008 with a B.A. in Fine Arts: Theatre. Since then, she has worked primarily in Chicago and throughout the Midwest with companies and organizations including Pulse Theater, Chicago Human Rhythm Project, Brave New Voices, Kuumba Lynx, and MPAACT, as well as other Chicago-based performers in both guerrilla and professional theater settings. She has served as a stage manager, production manager, road manager, and co-coordinator of the Chicago Hip Hop Theater Fest (CHHTF). Her production credits include Dandelions, Once on This Island, Tad in 5th City, The House That Will Not Stand, Sun Tea, In the Continuum, and City of Water.

MONTREZ HAWKINS (Ensemble) is a Chicago-based actor and comedian by way of Atlanta who has performed in plays, stand-up, and improv in both cities. He completed The Second City's Bob Curry Fellowship, co-starred in the award-winning short film Pistachio, and performs in iO Theater's Dare Dropouts. He also continues to perform stand-up and characters throughout Chicago. In addition to his stage and film work, Montrez is a voiceover artist and has appeared in commercial campaigns for companies including Insure On the Spot, Bright Speed Internet, and Four Season Air Condition. Montrez is represented by Gray Talent Group.

CHANDRA RUSSELL (Ensemble) is a Chicago-born actor, writer, and producer best known for playing Officer Zenobia Turner on Max's South Side. Her screen credits include Between the Aisles, written and directed by Anthony Lucero; All Happy Families, written and directed by Haroula Rose; and IFC's Sherman's Showcase. As a writer and creator, she has developed projects including Superior Breeds with Max, Warner Bros. Animation, and Gaspin Media; Black Girl Magic for NBC, produced by Gabrielle Union; and Downtown Girls for TBS, with Warner Bros. and Elizabeth Banks' Brownstone Productions. A graduate of New York University's Tisch School of the Arts, Russell is also a member of the comedy trio The Downtown Girls and co-creator and co-host of the podcast Unglamorous Truths.

KIMBERLY MICHELLE VAUGHN (Ensemble) is a SAG-AFTRA actor, award-winning filmmaker, and graduate of Columbia College Chicago with a B.A. in Theatre. A Second City Mainstage alum, she has appeared in Epic Rap Battles of History as former Vice President Kamala Harris, Hallmark's Holiday Touchdown: A Bears Love Story, Chicago Med, and more. She is proudly represented by Paonessa Talent Agency. 

LAUREN WALKER (Ensemble) is a writer and comedian from Chicago. She has written for the Emmy-nominated Book of Queer (Discovery+), RuPaul's Drag Race (VH1), American Auto (NBC), and South Side (HBO Max). As a member of The Second City National Touring Company, Lauren has traveled the country performing improv, sketch, and stand-up comedy. She also wrote and performed in the 2021 ViacomCBS Showcase and served as a consulting producer for the 2022 ViacomCBS Showcase.

PJ WALKER (Ensemble) is an actor and comedian born and raised in Chicago. This is his second production with The Second City, following his work as an understudy for the Mainstage revue This Too Shall Slap. In 2024, he was selected for The Second City's Bob Curry Fellowship. He has performed stand-up at venues including The Laugh Factory, The Annoyance, iO Theatre, and The Lincoln Lodge. He hosts and produces I Said What I Said, a reality TV-themed comedy show, and The Rewine podcast. In 2025, he was a runner-up for "Best Stand-Up Comic" in the Chicago Reader.

ROB WILSON (Director) is a Chicago-based creator and the Artistic Director of Development and Touring at The Second City. Second City directing credits include: The Devil Is in the Detours; Black by Popular Demand; and Thank You Goodnight. His sold-out Dance Like There's Black People Watching went on to Woolly Mammoth Theatre in DC. He also directed Shamilton  for Baby Wants Candy. As an actor, his credits include Shameless, Empire, Chicago Fire, Chicago Med, South Side, and The Big Leap. As the creator of The Black Excellence Revue, he is endlessly proud of every writer, performer, director, and artist who has helped make it what it is today.

The producing team includes James Colquhoun (Co-President), Elizabeth Howard (Co-President), Jen Ellison (VP, Head of Creative), Jeremy Smith (Managing Director), and Bryon Henderson (Producer).

About The Second City

The Second City opened its doors in 1959 as a small comedy cabaret and has since grown to become the world's most influential name in improvisation and comedy. For over 67 years, The Second City's stages, Touring Companies, and Training Centers across North America have proudly been the launch pad and artistic home for many of the funniest performers, writers, directors, and comedic minds on the planet.

For more information on The Second City, visit www.secondcity.com and follow The Second City on TikTok, Instagram, Facebook and Twitter.

Few musicals are as fun to sing (and watch) as “Little Shop of Horrors”. It’s not a huge surprise that Porchlight Music Theatre is christening their new home at the Biograph with a sure-fire crowd pleaser. Even better news is that their production directed by longtime Porchlight associate Michael Weber, lives up to the high standards they’ve always set for themselves.

Aside from the recent Halloweekend, why “Little Shop”? Why now? For starters, a revival of “Little Shop” has been running off-Broadway since 2019 and has endured the COVID-19 lockdowns and other obstacles. It’s hard to discount the demand, but if New York isn’t your bag, Chicago has something just as mean and green to offer.

Man-eating plant Audrey II is an unlikely allegory for AI, but somehow, it works seamlessly. When viewing “Little Shop” through the lens of capitalism, it’s more than B-movie flavored musical about an alien plant and more of a story about people choosing profit over extinction. In fact, the stage musical has a notably more nihilistic ending than the beloved 1986 film version.

Members of Porchlight's cast of Little Shop of Horrors at Biograph Theater. Photo by Kyle Flubacker.

“Little Shop” has always offered companies an exciting challenge, and that is how to bring the talking, murderous plant to life. The puppets created by Jonathan Berg-Einhorn are animated hilariously by Josh Bernaski and Juwon Tyrel Perry. Let’s just say the puppet budget is noticeable and appreciated.

Porchlight isn’t just relying on staging alone, a talented cast of both non-equity and equity performers round out this glossy production. Alina Taber as Audrey brings a sort of Sarah Sherman of SNL vibe to the flighty floral assistant originated by Ellen Greene. Her quirky sense of comedic timing brings a new angle that makes some of the goofy humor seem fresh. Plus, she has the pipes to bring down the house with her soaring duet "Suddenly Seymour" alongside co-star Andrew Linden, whose earnest portrayal of Seymour Krelborn makes the number all the more affecting.

Linden is another great talent in this casts’ small but mighty arsenal. “Grow for Me” is always an ear worm, but Linden’s powerful voice ensures you won’t forget it. Though, he shines best in the choreo segments. Really though, the entire cast makes Ashman and Menken’s pre-Disney musical numbers leap off the stage.

If it’s been a while, or you’ve never seen a stage production of “Little Shop”, it would be hard to beat Porchlight’s production without boarding a flight to New York. The change of scenery feels like a big step up for one of Chicago’s foremost storefront musical theatre companies. The historic Biograph Theater in Lincoln Park is a space more fitting to the caliber of work Porchlight is known for. And it’s nice to see lights on again at the Biograph which was temporarily shuddered. Halloween might be over, but the AI era, spooky season is now forever, so it’s the perfect time to revisit the 1950s doo-wop fun of “Little Shop of Horrors”.

Through December 13 at Porchlight Music Theatre at Biograph Theater. 2433 N. Lincoln Avenue. 773-777-9884