Displaying items by tag: Musical theatre

Kokandy Productions’ Jekyll & Hyde, now presented by Broadway In Chicago at the Broadway Playhouse, arrives with the momentum of a bona fide Chicago phenomenon. After its run at Chopin Theatre was extended again and again - an almost unheard of feat for an intimate, homegrown musical - the show has now been picked up for a full commercial engagement, marking a major leap for the company and a testament to the production’s electric word of mouth. It is worth noting just how rare this is: Broadway In Chicago almost never transfers storefront productions, making this pickup one of the most significant Chicago theatre success stories in recent memory. Conceived for the stage by Steve Cuden and Frank Wildhorn, this staging proves how a storefront success can scale beautifully without losing its bite.

This reimagined take on The Strange Case of Dr. Jekyll and Mr. Hyde, drawn from Robert Louis Stevenson’s classic story, uses Leslie Bricusse’s book and lyrics to follow Dr. Jekyll, a brilliant yet splintering scientist whose compassion fuels his most dangerous ideas. He turns to self‑improvement experiments - attempting to isolate and remove the darker impulses that plague human behavior. Only after the town council votes down his proposal to move forward does Jekyll test his theories on himself, unleashing a violent alter ego - Mr. Hyde - that refuses to stay contained and seeks revenge on those who dismissed his ideas as reckless.

While Jekyll’s experiments drive the plot, the production grounds his unraveling in two sharply drawn relationships: his earnest, hopeful romance with Emma and his complicated, magnetic connection with Lucy. Emma represents the future he’s desperate to protect, while Lucy embodies the vulnerability and desire he can’t fully control. Together, they give the story its emotional spine, showing how Jekyll’s transformation fractures not just his identity, but the lives of the women who care for him.

Kokandy dives into the duality with sharp humor, vivid theatricality, and a pulsing score that turns the transformation into both a spectacle and a psychological spiral. As Jekyll’s world cracks - friends endangered, morality blurred, identity slipping - the production keeps the tension taut, balancing gothic thrills with a surprisingly human core.

(center) David Moreland and the cast of Kokandy Productions’ production of Jekyll & Hyde.

What makes this staging stand out is its inventiveness: clever staging, bold physicality, and a cast that commits fully to the grotesque and the gorgeous – and, wow, can they sing. It’s no surprise audiences kept returning at Chopin, pushing the run far past its original closing date. That groundswell of audience demand is precisely what caught Broadway In Chicago’s attention - a level of traction strong enough to propel a storefront musical into a full commercial engagement. Seeing it now elevated to the Broadway Playhouse feels like the rare occasion when Chicago’s storefront originality gets the larger platform it deserves. In fact, upon entering, guests are handed stickers to mark how many times they’ve seen the show. Whether it’s their first visit or their seventh - the highest number I spotted - theatergoers wear it proudly, a small but telling sign of the cult‑like enthusiasm surrounding this production.

Directed by Producing Artistic Director Derek Van Barham, this production thrives on a razor‑sharp sense of style and drive. Van Barham shapes Jekyll & Hyde with the confidence of someone who knows exactly how to blend horror and heart into one seamless theatrical rhythm. A kinetic drive and sly wit run through the score thanks to Nick Sula’s music direction, ensuring crisp transitions and character‑focused vocal work. With a rare 15‑piece live orchestra on stage, the production’s musical power hits with a fullness and immediacy that elevates every passage. Brenda Didier’s choreography is the secret weapon — precise, playful, and radiating personality, it turns the show’s physicality into storytelling and amplifies the divide at the center of Jekyll’s collapse.

Kokandy’s ensemble fires on all cylinders, creating a production that feels both wickedly fun and sharply realized. David Moreland anchors the show with a riveting, shape‑shifting performance as Dr. Henry Jekyll and Mr. Edward Hyde, his vocal work and physical transformations giving the story its ferocious pulse. Moreland delivers a performance of remarkable physical and emotional intensity, one that stands out among the strongest I’ve seen. With visceral depth and vocal heat, Ava Lane Stovall shapes Lucy Harris into a woman suspended between danger and desire, her performance threading vulnerability through every moment of volatility. She makes Lucy’s internal tug of war feel immediate, giving the role a current that’s both seductive and unsettling. Meanwhile, Emily McCormick’s Emma Carew delivers a beautifully grounded counterbalance, her warm, expressive songs reinforcing the production’s moral center and offering the steadiness Jekyll’s world so desperately lacks.

(center) Ava Lane Stovall with (left to right) Quinn Kelch and Ismael Garcia and (below) Quinn Simmons in Kokandy Productions’ production of Jekyll & Hyde.

As Simon Stride and Spider, Quinn Kech moves effortlessly between clipped propriety and feral swagger, pairing sharp character work with vocals that cut cleanly through the score. A steady moral throughline comes through in Kevin Webb’s Gabriel John Utterson, his warm baritone and grounded presence giving the story its emotional ballast. Nathan Calaranan brings a dignified, resonant authority to Sir Danvers Carew, shaping each turn with clarity and restraint. Around them, the ensemble meets the material with full‑throated commitment - singing with power, acting with specificity, and charging every scene with the kind of collective intensity that makes this production feel larger than its footprint. Led by Jeff Award winners Moreland, Stovall, and McCormick, the ensemble’s collective impact makes this Dr. Jekyll & Mr. Hyde feel vividly, thrillingly alive. The extended applause throughout the night were frequent and fully deserved.

The reimagined score is one of the production’s greatest triumphs, built on Frank Wildhorn’s music, yet reshaped into something leaner, sharper, and far more theatrical. Kim Scharnberg’s orchestrations give the music its dark, muscular edge, while Jason Howland’s arrangements sharpen its modern undercurrent. The orchestrations feel slyly contemporary and richly atmospheric, giving the story a sonic identity that matches Kokandy’s confident staging. Nick Sula ensures every number lands with intention, whether it’s a brooding solo that tightens like a vice or an explosive ensemble sequence that floods the stage with adrenaline. And the vocal performances? They’re extraordinary – out of this world, presented with a clarity and force that elevate every musical moment.

The set evokes the grit and pressure of 1880s London without ever changing, a circular playing space with elevated risers that let the cast surround the action and heighten every moment of tension. Scenic designer Sotirios Livaditis, U.S.A., builds a world that’s intentionally fixed yet remarkably flexible, giving the ensemble multiple levels and angles to push the story forward. G. “Max” Maxin IV’s lighting and Matt Reich’s sound design sharpen that sense of immersion, shaping mood, focus, and dramatic impact from scene to scene. This talented design team gives us a unified environment that feels alive in its stillness - a single space that transforms through performance rather than mechanics.

Jekyll & Hyde comes highly recommended, not only for its inventive reworking but for the sheer theatrical command Kokandy brings to the Broadway Playhouse stage. Presented by Broadway In Chicago, the production (already extended) runs through November 8, 2026 at the Broadway Playhouse at Water Tower Place, with a runtime of 2 hours and 35 minutes including an intermission. It’s a bold, stylish, and wildly entertaining take on a classic tale - one that proves Kokandy’s storefront artistry can thrive beautifully on a commercial stage. I walked away from this production genuinely amazed, struck by how fully Kokandy has transformed a familiar title into something fresh, fearless, and alive. It’s a milestone not just for Kokandy, but for Chicago theatre itself - a reminder that the city’s most daring work can rise all the way to the downtown marquee.

https://www.broadwayinchicago.com/shows/jekyll-hyde/

Producer Jeffrey Seller and Broadway In Chicago have announced the world-premiere of the new musical THE PRINCESS BRIDE will begin performances in Chicago next summer at the James M. Nederlander Theatre, from July 19-August 22, 2027.

A miraculous blend of sword fights and satire, absurd fun and true romance, THE PRINCESS BRIDE has been both a beloved novel and celebrated film. Now, as you wish, it comes to enchanting life as a Broadway musical.

Like many timeless stories, this one asks the eternal question: Why does life have to be so complicated?

Journey to Florin, where a sweet-natured giant, a six-fingered (well technically 11-fingered) scoundrel, a vengeance-obsessed Spaniard, and an overconfident meanie all conspire to make things incredibly difficult for two young lovers just trying to live happily ever after. Prepare to die laughing and fall in love all at the same time, all over again.

The creative team features a book by Tony Award winner Bob Martin (The Drowsy Chaperone) and Tony-nominated Rick Elice (Jersey Boys), music and lyrics by Oscar-winning composers Kristen Anderson-Lopez (Frozen) and EGOT winner Robert Lopez (Frozen, The Book of Mormon), direction by Tony Award winner Alex Timbers (Moulin Rouge!) and choreography by Tony Award winner Andy Blankenbuehler (Hamilton, In the Heights).

Producer Jeffrey Seller is one of the most successful American producers of our time. He produced the Tony Award–winning musicals Rent, Avenue Q, In the Heights, and Hamilton. His shows have garnered twenty-two Tony Awards, including four for Best Musical. Jeffrey is the only producer to have mounted two Pulitzer Prize–winning musicals—Hamilton and Rent. He also revolutionized theater accessibility with the $20 ticket lottery for Rent, making theater affordable for all. 

The Princess Bride is based on the novel and Motion Picture written by William Goldman and the Motion Picture executive produced by Norman Lear and directed by Rob Reiner.

TICKET INFORMATION
THE PRINCESS BRIDE will be part of the next Broadway In Chicago season, on sale next month. Group tickets for 10 or more are on sale now by calling Broadway In Chicago Group Sales at (312) 977-1710 or by emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. Individual tickets will go on sale at a later date. 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, and just off the Magnificent Mile, the Broadway Playhouse at Water Tower Place and presenting Broadway shows at The Auditorium.

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

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Marriott Theatre, Chicagoland's longest-running musical theatre, presents its 2027 subscription season featuring five thrilling and memorable musicals: Pippin, A Gentleman's Guide to Love and Murder, Almost Heaven, Les Misérables and The Wiz. The season also includes three Theatre for Young Audiences productions and an engaging concert lineup. Beginning in 2027, Marriott Theatre will introduce new weekend performance times, with Saturday shows at 2pm and 7:30pm and Sunday performances at 1pm and 6pm.

The 2027 season kicks off with Stephen Schwartz's iconic musical masterpiece, Pippin, directed and choreographed by Jeff Award nominee Amber Mak (Marriott Theatre: Joseph and the Amazing Technicolor Dreamcoat, Buddy – The Buddy Holly Story, Disney's Finding Nemo). With an infectiously unforgettable score from four-time Grammy winner, three-time Oscar winner, Tony winner and musical theatre giant, Stephen Schwartz (Wicked and Godspell), Pippin is the story of one young man's journey to be extraordinary. Packed with iconic songs like "Corner of the Sky," "Magic to Do," "No Time at All" and "Morning Glow." Pippin starts performances January 27. 

Next on stage is A Gentleman's Guide to Love and Murder, the knock-'em-dead, uproarious hit filled with unforgettable music and unending hilarity, directed and choreographed by Katie Spelman (Marriott Theatre: Come From Away, The Music Man). When the charming and penniless Monty Navarro discovers he's ninth in line for an earldom, he figures his chances of outliving his predecessors are slight and sets off to speed up the line of succession by using a great deal of charm... and a dash of murder. Best Musical Winner: Tony Award, Drama Desk Award, Outer Critics Circle Award, and Drama League Award. A wickedly witty romp of disguises, dalliances, and delightfully untimely deaths, starring Marriott Theatre favorite Alex Goodrich as the ENTIRE D'Ysquith Family! A Gentleman's Guide to Love and Murder starts performances April 14.

For summer, celebrate the legendary life and legacy of John Denver with Almost Heaven: Songs of John Denver, directed by James Vásquez (Marriott Theatre: In the Heights, Always Something There..., Damn Yankees). American musical icon John Denver's timeless melodies echo from Rocky Mountain highs to the Green Mountains of Vermont. Set against a backdrop of America in the late 1960s and early 1970s, Almost Heaven celebrates the life and times of this down-to-earth music man with dozens of chart-topping hits including: "Rocky Mountain High," "Sunshine on My Shoulders," "Annie's Song," "Take Me Home, Country Roads," "Leaving on a Jet Plane," "Calypso" and many more. Almost Heaven is a theatrical salute to the music that inspires us to dream of new roads and new destinations. Almost Heaven: Songs of John Denver starts performances June 16.

The epic Les Misérables takes the stage in 2027, directed by Jessica Fisch (Marriott Theatre: Beautiful: The Carole King Musical, Come from Away, Catch Me If You Can) and choreographed by Marriott Theatre Associate Artistic Director Katie Johannigman (Marriott Theatre: A Little Night Music, The Magic School Bus). Set against the backdrop of 19th century France, Les Misérables tells an enthralling story of broken dreams and unrequited love, passion, sacrifice and redemption – a timeless testament to the survival of the human spirit. This epic and uplifting story has become one of the most celebrated musicals in theatrical history. The magnificent score of Les Misérables includes the songs "I Dreamed a Dream," "On My Own," "Bring Him Home," "One Day More," "Master of the House" and many more.  Packing an emotional wallop that has thrilled audiences all over the world, its powerful affirmation of the human spirit has made Les Misérables a cherished masterpiece. Les Misérables starts performances August 25.

When the holidays roll around, "ease on down the road" to the beloved Broadway gem, The Wiz, directed and choreographed by Deidre Goodwin (Marriott Theatre: director/choreographer of Heartbreak Hotel and Beehive, choreographer of Catch Me If You Can). Infusing L. Frank Baum's The Wonderful Wizard of Oz with a dazzling mix of rock, gospel and soul music, this timeless tale of Dorothy's adventures through the land of Oz is an effervescent explosion of music, dance, magic, and delight. Winner of seven Tony Awards including Best Musical, The Wiz is a fun, fresh, family-friendly musical. The Wiz starts performances November 10.

Marriott Theatre's commitment to family entertainment continues with a vibrant lineup of Theatre for Young Audiences productions throughout 2027. The season kicks off with the action-packed musical adventure The Lightning Thief: The Percy Jackson Musical, directed by Derek VanBarham and choreographed by Tommy Rivera-Vega, running February 19 through March 27. Young theatergoers will then delight in the heartwarming Lyle, Lyle, Crocodile: The Musical (a pilot production of the Theatre For Young Audiences edition), directed by Christopher Llewyn Ramirez and choreographed by Nich O'Neil, from July 9 through August 8. The final TYA production brings a fresh take on a classic fairy tale with the world premiere of Hansel & Gretel: Off The Grid, written by Johanna McKenzie Miller, Michael Mahler and Steven Strafford, directed by Miller and choreographed by Mandy Modic, running November 27 through January 9.

The 2027 Artists Lounge Live Concert Series will bring to the stage Hello Again: Eric Gutman Sings Neil Diamond on March 15-17, Good Vibrations: Michael Mahler Band Salutes The Beach Boys on September 13-14, Dream Lover: The Music of Bobby Darin and Connie Francis, starring Devin DeSantis and Anastasia Arnold on December 6-7, and Rockin' Down the Clock: 100 Years of Hits! on December 31.

Beginning Wednesday, September 16, audiences can purchase 2027 season subscriptions and single tickets to all upcoming shows and concerts. Current subscribers: your renewal packets will land in your mailbox shortly. Single ticket prices begin at $78 for mainstage productions, and $19.75 for Theatre for Young Audiences (plus tax and handling fees). For more information on Marriott Theatre or to purchase tickets to the current hit musical, Come From Away, please visit MarriottTheatre.com or follow the theatre on social media @marriotttheatre.

ABOUT MARRIOTT THEATRE

Founded in 1975, Marriott Theatre is known for presenting new and classic musicals, often direct from Broadway and has staged more than 260 productions before an estimated 12,000,000 people in its history. Marriott Theatre has received more than 600 Joseph Jefferson Award nominations and has employed more than 6,000 artists. In addition to the presentation of classic American musical theatre, Marriott Theatre has become a driving force in the development of original and re-imagined musicals.

Pippin and A Gentleman's Guide to Love & Murder are presented through special arrangement with Music Theatre International (MTI).

Almost Heaven is present by arrangement with Aruba Productions.

Les Misérables is presented through special by arrangement with Music Theatre International and Cameron Mackintosh LTD.

The Wiz and The Lightning Thief are presented by arrangement with Concord Theatricals.

In a world of theatrical adaptations, there really are two kinds: some reinvent their source material, becoming their own “new” art, while others understand that the real pleasure they provide is in the audience seeing some beloved thing from the past brought back to life. Dirty Dancing: The Musical falls firmly into the second category. Is it a great musical? Not quite. But that’s not its purpose. As a pop-culture ritual connecting a multigenerational audience over their shared love of a movie (which never tried to be “great” cinema, either), it is undeniably effective. And with Dancing with the Stars returning next week (surely a favorite for this musical’s audience), the timing of this particular Broadway in Chicago production’s exceptional ballroom dancing could not have been better.

With original screenplay and book by Eleanor Bergstein and direction by Lonny Price, the adaptation recreates the film largely through its familiar soundtrack, supplemented by a handful of original songs. It quickly becomes clear that the production was cast with dancing as its first priority. That choice pays off whenever the music takes over: the cast members are remarkably skilled dancers, and the show’s most kinetic sequences capture the sensuality and excitement audiences expect from Dirty Dancing. Much of that impact comes from choreographer Darrell Grand Moultrie, whose work channels the film’s sensuality and athleticism with precision.

That energy largely disappears, though, when the dancing stops. Unfortunately, dialogue is often delivered with a stiffness that makes the performances feel robotic, leaving little sense of genuine connection between the characters. The chemistry missing from Baby and Johnny’s romantic scenes is just as absent from the story’s confrontations, friendships, and family relationships.

Blake Zelesnikar (Johnny Castle) and the DirtyDancing: The Musical Company. Photo by Matthew Murphy.

Almost as noticeably, the ensemble rarely displays the tight-knit community that should exist among Kellerman’s dance staff. These characters live and work together within the same rigid system; their relationships should feel immediate and deeply established. Instead, much of the large cast feels underutilized, when not simply crowded on the stage. The exception is the final number at the end-of-season talent show, when everyone suddenly moves with the same electric energy. It sends the audience out on an undeniable high, while also revealing how much more vibrant the entire production could have felt with that sense of spirit throughout.

Vocally, the cast is professional and polished, with two extraordinary exceptions: Ethan Peterson as Billy Kostecki and Ashley LaLonde as Elizabeth. Their voices are absolutely stunning. Nearly every pin-drop emotional moment in the production comes not from the dramatic plot, but from one of them singing.

Alongside its dancing among the production’s greatest triumphs is its scenic design, which transports us to the 1960s Catskills. The work of scenic designer Brett J. Banakis, costume designer Linda Cho, and lighting designer Japhy Weideman is central to creating that world. The set does not rely on spectacle or theatrical magic but is astonishing because it’s so perfectly planned and constructed to hold every corner of Kellerman’s – from polished guest spaces to humbler staff quarters, indoors and out. Seamless transitions allow locations to shift smoothly without interrupting the story’s momentum. I only wish the choreography had taken greater advantage of that flexibility, using the architecture to create more breakout moments for an ensemble overflowing with talented dancers.

Ultimately, Dirty Dancing: The Musical succeeds at recreating the movie onstage but rarely explores what live theatre could add to it.

But despite any limitations, this production provides exactly what its audience desired: an enjoyable night powered by nostalgia, tremendous dancing, and a finale worth waiting for – even if it never becomes an exceptional musical independent of the film audiences already love.

Dirty Dancing: The Musical runs at the James M. Nederlander Theatre through September 20th. Tickets are available at https://www.broadwayinchicago.com/shows/dirty-dancing-the-musical/.

The hilarious musical parody Menopause the Musical® is on a 25th Anniversary National Tour this fall, and Aurora’s Paramount Theatre is the only Chicago-area stop, one-show-only, Saturday, October 17 at 3 p.m.

What better way to celebrate National Menopause Awareness Month in October, than gathering your favorite gal pals to enjoy the best feel good cure-all of all: a healthy dose of comedy.

In Menopause the Musical, four women at a lingerie sale have nothing in common but a black lace bra AND memory loss, hot flashes, night sweats, not enough sex, too much sex and more. Set to classic tunes from the ‘60s, ‘70s and ‘80s, this hilarious musical parody will have audiences cheering and dancing in the aisles. 

Join the party and see what more than 15 million women and fans worldwide have been laughing about for 25 years - this uproariously funny celebration of women and “The Change.”

Paramount Theatre is located at 23 E. Galena Blvd. in downtown Aurora, with easy, affordable parking and plenty of new restaurants nearby. Tickets to Menopause the Musical are $40-$70*. For tickets, visit ParamountAurora.com, call (630) 896-6666, or stop by the Paramount box office Monday through Saturday, 10 a.m. to 6 p.m., or until show time on show days. For group discounts, contact Melissa Striedl, This email address is being protected from spambots. You need JavaScript enabled to view it. or (630) 723-2461. 

The award-winning Porchlight Music Theatre is proud to announce the cast and creative team of the first mainstage production of its 32nd season, Little Shop of Horrors, directed by Porchlight's Elaine Cohen and Arlen Ruben Artistic Director, Michael Weber with choreography by Nataki Rennie and music direction by David Fiorello. The first fully staged production presented in Porchlight's new home, the historic Biograph Theater, 2433 N. Lincoln Ave, runs November 4 - December 13, 2026. 

For more than four decades, this Tony Award-winning musical has delighted millions of fans around the world with the funny and frightening story of the shy shop assistant, his coworker crush and a mysterious, carnivorous plant. Written by the powerhouse team of Howard Ashman and Alan Menken (Disney's The Little Mermaid, Beauty and The Beast and Aladdin), Little Shop of Horrors takes audiences on a wild trip where love and world domination meet at a Skid Row floral shop.

The cast of Little Shop of Horrors features (in order of appearance) Kiana Beverly  (Chiffon), Donnalesly Fondjo  (Crystal), Aneesah Jemei  (Ronnette), Andrew Linden  (Seymour Krelborn), Steve McDonagh  (Mr. Mushnik), Alina Taber*  (Audrey), Juwon Tyrel Perry* (Audrey II - Voice), Josh Bernaski  (Audrey II - Puppeteer) and Adam Fane*  (Orin Scrivello, DDS, and Everybody Else).

Stand-by understudies are (in alphabetical order) Daryn Alexus (Stand-by Understudy Chiffon, Ronnette and Crystal), Erline Dorcy (Stand-by Understudy Chiffon, Ronnette and Crystal), Tyler Ehrenberg  (Stand-by Understudy Audrey II - Puppeteer), Niki-Charisse Franco (Stand-by Understudy Audrey II - Voice) Sam Hook (Stand-by Understudy Seymour Krelborn) and Grace Reidenauer (Stand-by Understudy Audrey).

The creative team includes Rachel West (production manager), Jonathan Berg-Einhorn  (scenic and properties designer), Gregory Graham  (costume designer), Max Maxin IV+  (lighting designer) and Matthew Chase (sound designer/sound supervisor), Kevin Barthel  (wig designer), Bill Walters*  (stage manager), Katie Nowak  (assistant stage manager) Nick Peebles  (scenic supervisor), Kristi Martens  (costume supervisor), Riley Woods (lighting supervisor), Cecelia Chan  (Assistant Properties Designer), Tristin Hall  (intimacy / violence designer) and Linda Madonia  (company manager).

*Member of Actor's Equity Association, the union of professional actors and stage managers

+United Scenic Artists (Local USA 829), the union of professional designers, artists and craftspeople in the entertainment industry.

"Bringing Little Shop of Horrors to the Biograph Theater is an extraordinary moment in the history of Porchlight Music Theatre," said Weber. "This historic space has such a rich and fascinating connection to Chicago, and we're thrilled to begin a new chapter for Porchlight by making the Biograph our home for this season. Little Shop of Horrors is the perfect show to launch this adventure: it's wildly entertaining, deliciously dark and filled with unforgettable music, while the Biograph also offers the theatrical intimacy our audiences have come to love. We're especially excited to welcome two terrifically talented leading actors making their Porchlight debuts as "Seymour" and "Audrey". We can't wait to introduce them to our audiences, welcome everyone into the Biograph and experience this beloved musical together in this comfortable and gracious new setting."

The Little Shop of Horrors performance schedule is Wednesday, Thursday and Fridays at 7:30 p.m., Saturdays at 3 and 7:30 p.m. and Sundays at 3 p.m. Little Shop of Horrors is included in Porchlight's 2026-2027 subscription series, available at PorchlightMusicTheatre.org. Single tickets are reserved seating and are on sale for $28 - $98 at PorchlightMusicTheatre.org or by calling the Porchlight box office at 773-777-9884.

ABOUT ANDREW LINDEN, "Seymour Krelborn"

Andrew Linden is thrilled to be making his Porchlight Music Theatre debut, as well as his first show in Chicago! Before moving from Madison, Wisconsin, he appeared in shows with Forward Theater, Children's Theater of Madison and Capital City Theatre. He is so excited to be in the city and wants to thank his friends, family, partner Tess, and cat Gilda.

ABOUT ALINA TABER, "Audrey"

Alina Taber is thrilled to be making her Porchlight Music Theatre debut. Recent credits include: Brokeback Mountain (Chicago Shakespeare Theater), Anthony Rapp: Home for the Holidays (Lookingglass Theatre), Picnic, Winter's Tale (American Players Theatre),  The Lord of the Rings – A Musical Tale  (International tour and original American cast; Te Civic, Auckland NZ and Chicago Shakespeare Theater), A Streetcar Named Desire (Paramount Theatre), Beautiful: The Carole King Musical (Marriott Theatre), Grease (Drury Lane Theatre), and Once (Writer's Theatre). In TV and Film, Alina was a recurring character on the One Chicago shows (Lexi Olinsky). As a cabaret singer and print model, she can be seen throughout Illinois performing or pretending to be a gambling addict on bus stop ads, billboards, and casino pamphlets. IG: @alinajeninetaber

ABOUT JUWON TYREL PERRY, "Audrey II" - voice

Juwon has always been drawn to stories that sing, surprise, and leave a mark. For more than twenty years, Little Shop of Horrors has done exactly that. Porchlight Music Theatre audiences may recognize Juwon from Spring Awakening, Broadway in Your Backyard (Seasons 1 & 2), and the Chicago Sings series. His work has also been seen at Goodman Theatre, Lyric Opera of Chicago, Chicago Shakespeare Theater, The Arkansas Repertory Theatre, Geva Theatre, and the Tony Award-winning Court Theatre, among others. Beyond the stage, Juwon's cinematic reinterpretations of beloved songs have built an audience of more than 100,000 followers across social media, with performances reaching millions of viewers worldwide. Connect with him on Instagram and TikTok @juwontyrelperry.

ABOUT ADAM FANE, "Orin Scrivello, and everyone else"

Adam is thrilled to return to Porchlight Music Theatre with this seminal classic. Porchlight credits: "Jack Dawson" in Titanique! and "Tony Elliot" in Billy Elliot. Other credits include: Disney's The Little Mermaid (MUNY); Rock of Ages (National Tour); Salome & Medea (Lyric Opera); Frozen, The Full Monty, Into The Woods and The Producers (Paramount Theatre) Jim Henson's Emmet Otter (Studebaker); Ms. Blakk for President (Steppenwolf); Shrek the Musical, Gypsy, and Ride the Cyclone (Chicago Shakes); First Date (Royal George); Sex Tips (Chicago & Edinburgh Fringe); Jersey Boys, Spamalot, Pippin, and Avenue Q (Mercury Theater). Film: Canal Street. TV: Chicago PD. IG: @almostfanemous

ABOUT MICHAEL WEBER, director

Michael Weber is a nationally recognized, award-winning director, producer, actor and educator. Previous Porchlight productions include Follies, Sunday in the Park with George, Anything Goes, Cabaret, Sunset Boulevard, Gypsy and Merrily We Roll Along. He recently directed the London premiere of Call Me Elizabeth and the Off-Broadway and European premieres of Shake it Away: The Ann Miller Story, both written by and starring Kayla Boye. Under his artistic leadership, Porchlight Music Theatre was awarded Chicago's Jeff Award for "Best Production" six times. He previously served as artistic director for the inaugural season of Chicago's Drury Lane Theatre Water Tower Place (now Broadway in Chicago's Broadway Playhouse) and at Theatre at the Center in Munster, Indiana. The recipient of two Joseph Jefferson Awards, he has been nominated for nine awards and he wrote and directed 14 Joseph Jefferson Awards ceremonies (2006-2018). Weber's regional acting credits include The Merry Widow (starring Renée Fleming) at Lyric Opera, Annie Get Your Gun and Gypsy (both starring Patti LuPone) at Ravinia Festival, The Winter's Tale and Henry V at Chicago Shakespeare Theatre and more. A board member of The League of Chicago Theatres, he is author of the play WAR of the WELLeS (about Orson Welles' infamous radio broadcast) and he is a longtime pledge host for PBS station WTTW Channel 11.

ABOUT NATAKI RENNIE, choreographer

Nataki Rennie is beyond excited to be back at Porchlight Music Theatre! Originally from Brooklyn, NY, Nataki is a graduate of the musical theatre dance concentration program at the Chicago College of Performing Arts. Recent Chicagoland theatre credits include Beautiful the Carole King Musical at Drury Lane Theater, and White Christmas at the Marriott Theatre. She was previously seen on the Porchlight stage in Anything Goes, and in previous Chicago Sings productions. In her free time, she enjoys thrift shopping, creative writing and laughing with loved ones. Nataki would like to thank all of her family, friends and teachers for their love and support. IG: @nataki__

ABOUT DAVID FIORELLO, music director

David Fiorello is an Equity Jeff Award-winning Music Director, Director, Playwright and Performer who is no stranger to Porchlight Music Theatre. His work at PMT has spanned multiple seasons of Chicago Sings, New Faces Sing Broadway, Porchlight Revisits series, ICONS galas and special events, as well as MDing the Mainstage productions of Gypsy, Blues in the Night, and most recently, The Irish...And How They Got That Way. Chicago & Regional credits include work at The Goodman, Steppenwolf, Chicago Shakes, Drury Lane, The Fulton Theatre, and Maine State Music Theatre. David is the Founder & Artistic Director of The Beautiful City Project, using the tool of musical theatre to raise funds for charity. He also heads up Fiorello Studios, a premier vocal coaching studio in Chicago, as well as the Music Theatre program with the International Lyric Academy in Vicenza, Italy. David sends continual and undying love to his warrior wife Sarah. https://www.fiorellostudios.com/

ABOUT PORCHLIGHT MUSIC THEATRE

Porchlight Music Theatre, now in its 31st season, is the award-winning center for music theatre in Chicago. Through live performance, youth education and community outreach, we impact thousands of lives each season, bringing the magic of musicals to our theatre home at the Ruth Page Center for the Arts in the Gold Coast and to neighborhoods across the city. Porchlight has built a national reputation for boldly reimagining classic musicals, supporting new works and young performers, and showcasing Chicago's most notable music theatre artists, all through the intimate and powerful theatrical lens of the "Chicago Style."

Porchlight's history over nearly three decades includes more than 70 mainstage works with 15 Chicago premieres and five world premieres.

Porchlight's education and outreach programs serve schools, youth of all ages and skill levels and community organizations. Porchlight annually awards dozens of full scholarships and hundreds of free tickets to ensure accessibility and real engagement with this uniquely American art form.

The company's many honors include 178 Joseph Jefferson Award (Jeff) nominations and 49 Jeff awards, as well as 44 Black Theatre Alliance (BTA) nominations and 15 BTA awards. In 2019, Porchlight graduated to the Large Theatre tier of the Equity Jeff Awards and has been honored with seven awards in this tier to date including Best Ensemble for Duke Ellington's Sophisticated Ladies (2019) and Best Production-Revue for Blues in the Night (2022).

Through the global pandemic, Porchlight emerged as one of Chicago's leaders in virtual programming, quickly launching a host of free offerings like Sondheim @ 90 Roundtables, Movie Musical Mondays, Porchlight by Request: Command Performances and WPMT: Classic Musicals from the Golden Age of Radio. In 2021, Porchlight launched its annual summer series, Broadway in your Backyard, performing at parks and venues throughout the city which continues this summer.

This new staging of Mean Girls the Musical, now playing at Paramount Theatre in Aurora’s downtown theatre district, brings Tina Fey’s sharp, culturally defining high-school satire to the stage with a pop-infused score and a contemporary theatrical energy that reframes the familiar story for a new generation - and they do a pretty fetch job with it. What this production captures especially well is the all-too-well-known rush of being thrown back into the fiercely competitive atmosphere of high school all over again - the crowded hallways, the shifting alliances, the way a single rumor can tilt the entire school social landscape. The staging at Paramount Theatre makes those dynamics feel immediate, almost uncomfortably recognizable, reminding audiences how quickly the desire to fit in can override better judgment. It’s funny, sharp, and just self-aware enough to let you laugh at the chaos while remembering exactly what it felt like to navigate it.

The plot follows Cady Heron (Elizabeth Stenholt), a teenager who moves from Kenya to suburban Chicago and enters North Shore High School after years of being homeschooled. She quickly discovers that the school operates on a rigid social hierarchy, narrated with biting humor by Janis Sarkisian (Lucy Godínez) and Damian Hubbard (Steven Klenk), who guide her through the cliques and warn her about the most powerful group: The Plastics. Regina George (Dariana Mullen), Gretchen Wieners (Angel Alzeidan), and Karen Smith (Julia Hope Budd) rule the school with a mix of charm, intimidation, and ruthless social strategy, and when Regina unexpectedly invites Cady into their circle, she is pulled into a world of manipulation, gossip, and carefully curated popularity. Janis, who has a long-standing feud with Regina, convinces Cady to infiltrate The Plastics and report back on their behavior, setting off a chain of choices that gradually erode Cady’s sense of self as she begins adopting Regina’s tactics and losing sight of her own values.

Paramount’s “Plastics” are played by (from left) Julia Hope Budd as Karen Smith, Dariana Mullen as Regina George and Angel Alzeidan as Gretchen Wieners.

One of the production’s most “wow” moments comes when The Plastics first appear, silhouettes poised atop the school stairway before descending like rock stars - a clever, high-impact entrance that instantly sets the tone.

Central to the musical’s conflict is the Burn Book, a scrapbook created by The Plastics and filled with photos of classmates alongside handwritten insults, rumors, and secrets. It’s a private weapon of social destruction, and when Regina discovers Cady’s betrayal, she detonates it by releasing the book to the entire school, planting a fake insult about herself so she appears innocent. The fallout sparks a chaotic riot among the junior class, forcing Principal Duvall (Austin Nelson Jr.) to intervene and leading to a school-wide reckoning. 

Mean Girls taps into something painfully recognizable: the way girls learn to measure themselves against each other, and how the need to fit in can become its own quiet form of survival. It lays bare the unspoken rules of teenage girlhood - the constant self comparison, the social performance, the fear of exclusion - and shows how easily those pressures can harden into the very behaviors that hurt others. Beneath the comedy, there’s a clear understanding of how identity gets shaped, distorted, and reclaimed in the crucible of adolescence.

At the center of the production is Elizabeth Stenholt, whose performance as Cady Heron gives the show its emotional anchor. She charts Cady’s evolution with clarity, moving from wide-eyed newcomer to reluctant Plastic with a grounded, human touch. Opposite her, Dariana Mullen delivers a sharply etched Regina George, wielding charisma and calculated menace with effortless control. Together, Stenholt and Mullen create a dynamic push and pull that fuels the show’s momentum, supported by a leading cast whose charged performances keep the story vivid and unexpectedly heartfelt. Veronica Garza (Mrs. Heron / Ms. Norbury / Mrs. George) adds versatility and grounded humor across her roles, shifting smoothly between characters and giving each one a distinct presence; among the talented cast, she stood out as one of my favorites, especially in her turn as Regina’s humorously over-the-top “cool mom.”

Director Devon Hayakawa guides the production with a steady, clear approach, keeping the story moving and giving the cast room to shape their characters. Kasey Alfonso’s choreography brings consistent energy to the ensemble, supporting the humor and helping the larger numbers land with ease. Kory Danielson’s music direction and conducting provide a reliable foundation throughout, keeping the vocals tight and the orchestra responsive to the shifts in tone. The design team adds cohesive polish: Kotryna Hilko’s costumes are full of sexy punch and humorous excitement and Greg Hofmann’s lighting is an explosion of flashing pink tones that would delight any Mean Girls fan. Adam Rosenthal’s sound design maintains balance, Erin Pleake’s video work adds many layers of reality to the already aesthetically exciting set, and Ethan Deppe’s electronic elements blend smoothly into the score.

Cady (Elizabeth Stenholt, center), the new girl from Africa who transfers to Chicago’s North Shore High, is befriended by social outcasts Damian (Steven Klenk, left) and Janis (Lucy Godinez, right) in Mean Girls.

The set is impressively immense, a sprawling expanse of pink that never feels wasted or ornamental. Every nook and cranny is smartly utilized to build out North Shore High School, with stairways, hallways, classrooms, and common spaces folding into one another in ways that keep the action fluid and visually engaging.

The musical numbers are where this production really hits its stride, pairing Alfonso’s crisp, high-energy choreography with songs that sharpen the show’s humor and emotional stakes. I wasn’t necessarily expecting the music to land as strongly as it did, assuming the humor and engaging story would carry most of the weight, but the score proves to be one of the production’s biggest strengths. Elizabeth Stenholt shows she can truly belt, delivering powerhouse vocals in both “It Roars” and “I See Stars,” while Dariana Mullen matches her intensity and range with a commanding “World Burn.” Lucy Godínez gets a standout showcase of her own in “I’d Rather Be Me,” reinforcing why Janis Sarkisian remains such a fan favorite. Steven Klenk’s Damian - the “too gay to function” best friend - lands sharp comedic lines throughout and brings infectious energy to “Where Do You Belong?” The choreography makes clever use of the revolving floor and incorporates desks, lunch tables, and trays in ways that keep the staging inventive and visually playful. Comedy lands not just in the dialogue but in the musical staging itself - the heightened high-school dramatics, the sly visual gags, and the rhythmic timing that turns social chaos into full-company spectacle. The humor comes through clearly, supported by musical numbers that are confidently staged and consistently engaging.

Based on the now cult-favorite 2004 film, the musical premiered on Broadway in 2018, adapted once again by Tina Fey with music by Jeff Richmond and lyrics by Nell Benjamin. Its theatrical form allows the story to expand emotionally, using songs to deepen character motivations and give voice to internal conflicts that the film conveyed through montage or narration. While the musical retains the film’s core plot, several notable differences distinguish it from its 2004 source: updated characterizations, modernized humor, broader representation, a stronger presence of social media, and shifts in relationships and family dynamics that reflect contemporary storytelling.

Paramount’s production of Mean Girls the Musical proves to be a smart, engaging take on the material, carried by a committed cast and a creative team that understands how to translate the story’s humor and heart to the stage. It moves with confidence, lands its character beats cleanly, and offers enough freshness to make revisiting this world worthwhile. For audiences looking for a lively, contemporary musical with sharp performances and a cohesive design approach, Mean Girls is an easy recommendation - now running through October 11, 2026 at Paramount Theatre in Aurora.

https://paramountaurora.com/events/mean-girls/

About Face Theatre and Raven Theatre present a powerhouse co-production of the groundbreaking, Pulitzer Prize-winning musical A Strange Loop, with book, music, and lyrics by Michael R. Jackson and direction by About Face Theatre Artistic Associate Mikael Burke. The highly anticipated Chicago premiere will run October 8-November 8, 2026, on the Johnson Stage at Raven Theatre, 6157 North Clark Street in Chicago. 

Tickets go on sale September 8, 2026, at www.raventheatre.com, (773) 338-2177, or in-person at the Raven Theatre box office. Ticket prices range from $30-$45 with discounts for seniors, military and theatre industry.

A Strange Loop made history by winning the 2020 Pulitzer Prize for Drama, marking the first time a musical written by a Black artist received the honor. Jackson's blistering, autobiographical masterpiece went on to capture the 2022 Tony Awards for Best Musical and Best Book of a Musical. The story follows Usher, a Black, queer playwright who spends his days working as an usher on Broadway. He spends his nights struggling to write an original musical about a Black, queer playwright who spends his days working as an usher on Broadway. Lines blur, thoughts intrude, and soon he finds himself wrestling to break free from a very strange creative loop. This musical explores identity, race and sexuality through the lens of a young artist at war with a chorus of his own demons and inner voices on a journey towards understanding and self-love.

The cast includes: Eddie Weaver (Usher), Micah Mixon (Thought 1), Matheus Barbee (Thought 2), Christopher Wayland (Thought 3), Michael Turrentine (Thought 4), John-Payne (Thought 5), Naphtali Curry (Thought 6). The understudies are Jordan Harris (Usher), Simmery Branch (Thought 1), Aiden McCoy (Thought 2), Michael Davis Arnold (Thought 3), Shawn Smith (Thought 4) and Reginald Hemphill (Thought 5).

The creative team is: Mikael Burke (director), Kyu Park (music director), Breon Arzell (choreographer), Sydney Lynne (scenic designer), Brenden Marble (lighting designer), Hannah Kwak (sound designer), Matt Reich (associate sound designer), Janelle Smith (costume designer), Mariah Bennett (props designer), Chels Morgan (violence and intimacy designer), Terry Guest (associate director) and Christopher Richard Pazdernik (dramaturg). Christine D. Freeburg is the stage manager and Rachel Simmons and Charlotte Horton are the assistant stage managers. Catherine Miller is the casting director.

About Face Theatre Producing Artistic Director Megan Carney comments, "This co-production between About Face and Raven Theatre is a dream come true. Together we've assembled a team that is passionate about bringing complex Black queer lives to centerstage and uplifting this groundbreaking exuberant musical in Chicago. A Strange Loop meets the moment in a spectacular way, and we can't wait to share it with audiences this fall."

Raven Theatre Executive Director Jonathan Berry adds, "We are so thrilled to partner with About Face Theatre to bring the Chicago premiere of this bold, remarkable piece to the stage. It is rare to find a piece that is so fearlessly honest about an artist's experience.  A Strange Loop is a hilarious, touching, heartbreaking and ultimately uplifting journey and Mikael Burke is the perfect director to bring it to extraordinary life on the Raven stage."

A STRANGE LOOP 
book, music, and lyrics by Michael R. Jackson 
directed by About Face Theatre Artistic Associate Mikael Burke 

Co-production between About Face Theatre and Raven Theatre 

Run Dates: October 8-November 8, 2026 

Previews: October 8-11, 2026

Location: All performances will take place on the Johnson Stage at Raven Theatre, 6157 N. Clark St. in Chicago.

Tickets: Raven Theatre box office, 6157 N. Clark St. in Chicago; www.raventheatre.com; 773.338.2177

General Admission: $45; Student, Military, and Industry tickets $20. Previews $30.

Tickets go on September 8, 2026.

Schedule: Wednesdays, Thursdays, Fridays, and Saturdays at 7:30 p.m.; Sundays at 3 p.m.

CAST

Eddie Weaver (Usher)

Micah Mixon (Thought 1)

Matheus Barbee (Thought 2)

Christopher Wayland (Thought 3)

Michael Turrentine (Thought 4)

John-Payne (Thought 5)

Naphtali Curry (Thought 6)

Understudies: Jordan Harris, Simmery Branch, Aiden McCoy, Michael Davis Arnold, Shawn Smith, Reginald Hemphill and Gabriel Levi.

Notes of Interest:

• Raven and About Face are producing together for the first time. Raven produced its first musical last season with the highly successful Octet, which extended its run before transferring to the Goodman Theatre.
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• The blistering Pulitzer Prize winning musical explores identity, race and sexuality through the lens of a young artist at war with a chorus of his own demons and inner voices on a journey towards understanding and self-love. It was nominated for eleven Tony Awards and won for Best Musical and Best Book of a Musical at the 2022 Tony Awards.
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• A Strange Loop won the 2020 Pulitzer Prize for Drama. It is the first musical written by a Black artist to receive the honor.
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• A Strange Loop is autobiographical. Creator Michael R. Jackson spent years working as a Broadway usher at The Lion King, Mary Poppins, and Aladdin while struggling to write this piece. The show took roughly 18 years to get to Broadway, beginning as a simple personal monologue Jackson wrote shortly after graduating undergrad in 2002. Jackson clarifies that the show is an "emotional autobiography." While the literal plot points are fictionalized, the personal feelings of self-loathing, body image issues, and navigating a religious family are deeply real.
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About the Artists

Michael R. Jackson, Pulitzer Prize-winning playwright, composer, and lyricist is the creator of A Strange Loop, which the New York Times has called a "bravura meta-musical." The piece – which took Jackson eighteen years to create – won the Pulitzer Prize for Drama in 2020, eleven Tony Award nominations, a New York Drama Critics Circle Award, and two Tony Awards – for Best New Musical and Best Book. Jackson has been named one of TIME Magazine's "100 Most Influential People" (2022) and has received numerous awards including a New Professional Theatre Festival Award, a Jonathan Larson Grant, a Lincoln Center Emerging Artist Award, an ASCAP Foundation Harold Adamson Award, a Whiting Award, the Helen Merrill Award for Playwriting, the Windham-Campbell Prize, and a Dramatist Guild Fellowship. He has appeared on The Daily Show with Trevor Noah, CBS Sunday Morning, and Late Night with Seth Meyers, to name a few. He wrote book, music, and lyrics for the musicals White Girl In Danger and A Strange Loop (2019 world premiere at Playwrights Horizons in co-production with Page 73 Productions). Jackson holds a BFA and MFA in playwriting and musical theatre writing from the NYU Tisch School of the Arts. 

Mikael Burke (Director) is a Chicago-based director, deviser, and educator. A Princess Grace Award winner in Theatre and Jeff Award-winning director, his recent credits include: Oak by Terry Guest (Urbanite Theatre, World Premiere); Othello by William Shakespeare (Theatreworks Colorado Springs); Short Shakes! Romeo & Juliet (Chicago Shakespeare Theater); Notes from the Field by Anna Deveare Smith (TimeLine Theatre, Chicago Premiere); The Salvagers by Harrison David Rivers (Yale Repertory Theatre, World Premiere); Tambo & Bones by Dave Harris (Refracted Theatre Company, Chicago Premiere, winner of 8 Jeff Awards); Blues for an Alabama Sky by Pearl Cleage (Remy Bumppo Theatre Company); The Magnolia Ballet by Terry Guest (About Face Theatre, Chicago Premiere, winner of 2 Jeff Awards); Clyde's by Lynn Nottage (Theaterworks Hartford). Mikael is also an adjunct faculty member at DePaul University and Roosevelt University. MFA, The Theatre School at DePaul University.

Eddie Weaver (Usher) is making his Raven Theatre debut. An Atlanta native, Eddie is an actor, singer, and mover who earned his B.A. in Theatre Performance from Columbus State University. His previous credits include: A Strange Loop (Actors Express), Three Pianos (Florida Studio Theatre), Legally Blonde, Chicken & Biscuits, Purlie Victorious, and The Prom (Charleston Stage), among others.

Micah Mixon (Thought 1) graduated from Columbia College Chicago with a BA in musical theater and a minor American Sign Language. Some of her favorite past roles: understudying for the Armelia McQueen and Nell Carter tracks in Drury Lane's Production of Ain't Misbehavin', Hailey in Final Girlies and Final Girlies (Director's Cut) at iO theater, and Tacooma in Three Little Birds at Young People's Theater.

Matheus Barbee (Thought 2) is an actor and singer based in Chicago, originally from North Carolina. He is thrilled to be making his Raven and About Face debut, reuniting with Mikael Burke after collaborating on Violet at Northwestern University. Chicago Credits include Sister Act, A Christmas Carol (Drury Lane), The 25th Annual Putnam County Spelling Bee (Paramount), Diana the Musical (Theo Ubique), Goodnight Moon (Chicago Children's Theater), and The Play That Goes Wrong (Metropolis). Regional credits include The 25th Annual Putnam County Spelling Bee (as Chip at Indiana Repertory), Shrek the Musical (as Donkey at MGM Beau Rivage), West Side Story (as Chino at Surflight), Grease (MGM Borgata). Alumnus of Northwestern University.

Christopher Wayland (Thought 3) is returning to Raven Theatre for the fourth time and is working with About Face Theatre for the first time. Previous roles at Raven include Peter in The Luckiest, Jib in Hoodoo Love, and Pharus Young in Choir Boy. He is a Professor of Acting at the Chicago College of Performing Arts and earned an MFA in Acting from The Theatre School at DePaul University. In the Chicago area, he is a member of the Rivendell Theatre Ensemble and has worked at Goodman Theatre, Court Theatre, Paramount Theatre, Marriott Theatre, Porchlight Music Theatre, First Folio Theatre, 16th Street Theater, Oak Park Festival Theatre, Jackalope Theatre Company, Griffin Theatre, Teatro Vista, Haven, Lifeline Theatre, Stage Left Theatre, and with Right Angle Entertainment. His television credits includes a recurring role on The Chi (Showtime), neXt (FOX), Chicago Med (NBC), and APB (FOX), as well as several commercials including national campaigns for Kellogg's and Lowe's.

Michael Turrentine (Thought 4) has worked as an actor, writer, dancer, and social justice educator in Chicago for over a decade and doesn't plan on slowing down soon. Some of the theaters he has worked with include Paramount Theatre, The Marriott Theatre, Drury Lane Theater, Court Theatre, Steppenwolf Theatre, The Lyric Opera of Chicago, The Gift Theatre and many others. His TV credits include South Side, Emperor of Ocean Park, Somebody Somewhere and others.

John-Payne (Thought 5) is a Chicago theatre-artist and performer and is making their debut with Raven Theatre working on A Strange Loop. We hold a responsibility in being conscious and active members of our community through the art we create, and John-Payne is dedicated to making lasting change for queer/black & brown theatre folk, and challenging the structures which prohibit that change.

Naphtali Curry (Thought 6) is an actor based out of Chicago, Illinois, making his Raven Theatre debut. Some of his theatre credits include Benny in Rent (Capital City) and Donkey in Shrek The Musical National Tour (2024). His Chicago theatre credits include Mitch Mahoney in Spelling Bee (Paramount), Valentine in Twelfth Night (Chicago Shakes), Paul Williams in Real Housewives of Motown (Black Ensemble), ensemble in Rent (Porchlight).

RAVEN THEATRE tells stories of today and the past that connect us to our cultural landscape. Raven's commitment to modern drama in all of its forms, as well as its first-class education programming, have helped it remain a cultural cornerstone on the north side of Chicago for 40 years and counting. For 44 years, Raven Theatre has been the home to revivals of modern dramas and thought-provoking new works to the Northside Chicago community, as well as theatrical education to the children and schools in the surrounding neighborhoods. Founded in 1983, Raven moved into its current home in 2002 with its 85-seat Johnson Stage and its 56-seat Schwartz Stage.

ABOUT FACE THEATRE advances LGBTQ+ equity through community building, education, and performance. Since our founding in 1995, we've been a national leader in producing groundbreaking theater throughout Chicago that centers and affirms people who identify as LGBTQ+ and other intersecting identities. Working with nationally recognized and emerging artists of all ages, our programs include award-winning productions, touring shows, a Youth Ensemble, and new work development through Re/Generation Studio. Learn more and get involved at aboutfacetheatre.com.

Come From Away begins from a place of deep uncertainty, yet what emerges is a story grounded in the steady, everyday kindness people offer when they have nothing else to give. Rather than revisiting the events of September 11 themselves, the musical focuses on the human responses that rose in their wake - small gestures that became anchors for thousands of strangers. Currently running at Marriott Theatre, this production leans into that humanity, reminding us that even in moments defined by fear, communities can reveal their best selves and set the stage for the remarkable true story that follows.

The origins of Come From Away trace back to the ten-year reunion of Gander residents and the airline passengers who found themselves unexpectedly grounded there during the September 11, 2001 airspace shutdown. Writers Irene Sankoff and David Hein attended that gathering, listening as people shared memories of fear, generosity, and the strange intimacy of those five days. Those first-hand accounts became the foundation of their musical, built from interviews, lived experiences, and the community’s own reflections.

Come From Away tells the remarkable true story of how the residents of Gander, Newfoundland opened their town to nearly 7,000 stranded passengers, transforming crisis into connection. Sankoff and Hein’s folk-infused score and ensemble-driven storytelling capture both the urgency of the moment and the warmth that defined the community’s response. Through intersecting vignettes - a pilot grappling with the weight of the tragedy, a couple who unexpectedly find love, and townspeople mobilizing with astonishing kindness as they scramble to meet the needs of thousands - the musical builds a fast-moving, emotionally resonant tapestry of resilience. The many moments are uniquely moving. One storyline follows a gay couple who initially fear they may have been displaced into a community that would not welcome them, only to discover that Gander’s embrace is far more open-hearted than they ever expected. Another centers on a mother whose son is a New York City firefighter, her fear deepening with every hour she goes without word of his safety. A further scene reveals how fear and uncertainty led to an instance of racial bias toward a Middle Eastern passenger, underscoring the tension and misunderstanding that shaped those early hours. It is also notable how long it took many of the stranded passengers to even learn why they had been grounded, completely unaware of the September 11 attacks unfolding beyond the airport tarmac.

One of the most striking things Come From Away made me realize is how little I had ever considered the logistics of suddenly hosting 7,000 unexpected guests. Lodging is the obvious hurdle, but the production makes you think about everything else: baby formula and diapers for stranded families, toothpaste and toilet paper for thousands of people who never planned to stay overnight, the sheer volume of food, toiletries, and basic supplies required to keep an entire town functioning under extraordinary circumstances. It is the kind of practical, human detail that rarely crosses your mind until a musical places it right in front of you. And right in the middle of all that panic and uncertainty, one passenger quietly quotes Philippians 4:6 — “Be anxious for nothing.” The moment lands with such gentle force that it clearly holds the audience, as if the reassurance reaches beyond the stage.

The ensemble works together with the fluid precision Come From Away is known for, but a few roles naturally carry more emotional weight. Beverly, played by Lexie Dorsett Sharp, provides one of the show’s strongest through lines, her reflections as a pilot adding quiet depth to the production. Claude, portrayed by Alex Goodrich, anchors the local perspective with a steady, good-humored presence as Gander’s mayor who so wonderfully inspires the townsfolk, while Hannah, brought to life by Sharriese Hamilton, is a deeply felt presence as the firefighter’s mother. Around them, the rest of the company contribute vivid moments that round out the tapestry of stories, each adding texture without overshadowing the show’s ensemble spirit.

Lexie Dorsett Sharp and cast in Marriott's Come From Away. Photo by Justin Barbin.

The cast also gets a welcome lift from its other strong players, each actor shifting cleanly through multiple roles with the precision the show demands. Justin Albinder, in particular, delivers sharply timed, very funny moments that consistently land. Alongside him, Matt Crowle, Devin DeSantis, Denise Devlin, Sarah Bockel, Madison Kauffman, Heidi Kettenring, Michael Earvin Martin, and Jonathan Shaboo contribute to a unified, well-calibrated company whose collective work feels much larger than the sum of its parts.

Marriott’s production benefits from clear, confident leadership behind the scenes. Jessica Fisch’s direction keeps the ensemble moving with purpose, shaping the intersecting stories with a calm, assured touch that lets the emotional beats land without force. Katie Spelman’s choreography adds subtle lift to the staging - never flashy, but always intentional - helping the momentum build in ways that feel organic to the storytelling. Scenic designer Scott Penner and lighting designer Jesse Klug further elevate the production, using Marriott’s in‑the‑round configuration and luggage that doubles as plane seats to create the illusion of a bustling, overcrowded environment despite a cast of just twelve. Through razor‑sharp transitions, fluid movement, and smart spatial design, the stage often feels packed with 40 or 50 people, turning simplicity into spectacle without ever losing intimacy.

The musical’s score finds some of its strongest moments in a handful of standout numbers. “Me and the Sky,” led by Lexie Dorsett Sharp, remains the show’s defining emotional peak, her performance giving the song a grounded clarity that resonates long after it ends. Ensemble pieces like “Blankets and Bedding” and “28 Hours / Wherever We Are” showcase the cast’s cohesion, capturing both the frantic energy of Gander’s rapid mobilization and the passengers’ first fragile steps toward connection. Alex Goodrich brings an easy charm to “Screech In,” turning the raucous drinking ritual into one of the evening’s most crowd-pleasing scenes. And in “I Am Here,” Sharriese Hamilton delivers a quiet, concentrated punch, shaping one of the musical’s most affecting solo moments. The musical lift throughout is supported by conductor Celia Villacres and music coordinator Trevor Jones, whose work keeps the score driving, unified, and emotionally sharp. In these moments, the score shows its full range, moving easily between lightness, tension, and heartfelt storytelling.

What surprised me most was how deftly the musical balances somberness with humor. Given the weight of September 11^th (now approaching its 25^th anniversary), I expected the tone to stay anchored in grief, but Come From Away keeps finding pockets of levity, warmth, and genuine laughter. The humor never undercuts the tragedy; instead, it highlights the resilience and humanity that emerged in the midst of fear. The show moves back and forth between emotional registers with such ease that you are never left in one feeling for too long, making the experience unexpectedly uplifting.

Marriott Theatre’s production of Come From Away offers a thoughtfully crafted, emotionally grounded evening that earns its place among the company’s stronger musical offerings. The ensemble’s cohesion, the clarity of its overall arc, and the steady warmth woven throughout make this a production well worth seeing.

Highly Recommended.

Runs through October 18^th at Marriott Theatre in Lincolnshire.

One hour and forty‑five minutes with no intermission.

Tickets and additional information: www.marriotttheatre.com/show/come-from-away  

Vape! The Grease Parody, currently running at Chicago’s Apollo Theater through January, takes a satirical swing at the iconic 1978 film. The production leans heavily into campy, low‑brow humor, poking fun at the original and the characters who appeared in it - Danny Zuko and Sandy Olsson, made famous by John Travolta and Olivia Newton‑John, their respective groups, the T‑Birds and the Pink Ladies, and a parade of other colorful personalities. Vape! attempts to capture the same irreverent energy that made recent parody hits like Titanique and Schmigadoon! work, but it struggles to carve out its own distinct identity.

For those unfamiliar with the source material, Grease follows the summer‑fling romance between Danny Zuko, the swaggering leader of the T‑Birds, and Sandy Olsson, the wholesome new girl who unexpectedly lands at his high school. Their reunion at Rydell High kicks off a swirl of teen drama, pep‑rally posturing, and 1950s hot‑rod bravado, all set against the antics of their respective cliques. The story ultimately tracks whether Danny and Sandy can bridge the gap between their carefully curated images and who they actually are - all wrapped in a soundtrack that has produced some of the most memorable songs from a stage and screen musical.

The narrative of Vape! modernizes the classic tale by tossing an assortment of pop-culture tropes and theatrical nods at the audience. Some of these updates land, such as transforming Sandy into a washed-up mermaid or reimagining "Beauty School Dropout" as an "Influencer Dropout" sequence featuring the ensemble performing with ring lights affixed to their heads. Theater lovers will also spot references to Wicked, The Phantom of the Opera, A Chorus Line, and others. However, some of the updates – like turning Rizzo into a Scream-esque murderer – don’t.

At times, the structural additions feel somewhat disjointed. The modernizations do not always mesh smoothly with the source material, creating an odd juxtaposition where 1950s greasers and TikTok culture clash rather than complement one another.

While the original Grease carried a certain tongue-in-cheek approach beneath its mature content, Vape! leans fully into explicit and crude farce. For instance, Grease’s "Hand Jive" gets a lyrical update to become the "Handjob.”

Despite the material, the cast delivers energetic and capable performances, keeping the energy high. Will Leonard offers an enjoyable Travolta impersonation, capturing his signature vocal whine with precision – though it’s a bit disappointing he didn’t have the iconic black hair. Jenna Smith makes Sandy fun to watch, especially in the way she pokes fun at Olivia Newton‑John’s accent. Among the ensemble, Suzanne Sole and Sophia Brazada turn in standout moments, each showing off impressive vocal chops.

The creative team behind Vape! brings together a mix of comedy writers and seasoned parody specialists. Sketchworks Comedy and Catie Hogan supply the show’s core concept, while Billy Recce - of A Musical About Star Wars fame - contributes additional lyrics and book alongside Danny Salles. Jack Plotnick, known for directing Broadway’s Disaster!, steers the production, with Ashley Marinelli shaping the choreography and Lena Gabrielle overseeing music supervision and arrangements. Sketchworks also produces the show, with Seth Rudetsky and James Wesley Jackson offering input as creative consultants.

It’s clear from the theater’s decorative environment that great care has been taken with the overall experience. It’s immersive and outfitted with goofy parody posters, themed photo ops, cutouts, and even Grease‑themed cornhole. So, for devoted Grease fans looking for a lighthearted mockery of the classic, or perhaps theatergoers simply seeking silly, inconsequential escapism, Vape! offers a breezy night out.

Vape! The Grease Parody is being performed at the Apollo Theater Chicago through January 3rd, 2027. Tickets and information are available at vapethemusical.com.