Displaying items by tag: Musical theatre

Metropolis Performing Arts Centre, located in the heart of downtown Arlington Heights, 111 W. Campbell St., is proud to announce the cast and creative team for Ride the Cyclone, September 16 - October 25. Ride the Cyclone is presented with book, music and lyrics by Jacob Richmond and Brooke Maxwell. The Metropolis production is directed by original American cast member Lillian Castillo, and music directed by Carolyn Brady. Previews are Wednesday, Sept. 16 through Friday, Sept. 18 at 7:30 p.m. and Saturday, Sept. 19 at 2 p.m. The regular performance schedule is Thursdays and Fridays at 7:30 p.m. and Saturdays and Sundays at 2 and 7:30 p.m. The performance on Saturday, Sept. 26 at 2 p.m. will be closed captioned and the performance on Thursday, Oct. 8 at 7:30 p.m. will be ASL interpreted. Tickets are now on sale from $25 to $49 at MetropolisArts.com or by calling the box office at 847.577.2121.

In a now-abandoned theme park not so long ago, six teenagers hurtled to their death on the roller coaster The Cyclone. Now, those teens are back from the afterlife, with all of their unlived dreams, potential, hopes, and fears in tow. They grapple with the lives they led on Earth and the choices they made – all except a mysterious and headless girl named Jane Doe, who has no memory of her past. As instructed by a fortune-telling machine named The Amazing Karnak, the teens need to decide who amongst them will receive the gift of returning to their life. As they fight to be the one to return, they realize that life's ups and downs, tragedies and victories, love and loss are all just part of the ride.

An added bonus to the Metropolis production features Director Lillian Castillo. Castillo is the original "Constance" on the world premiere cast recording. She originated the role in the American premiere at Chicago Shakespeare Theater and continued performing in the Off-Broadway, Seattle and Atlanta productions.

The cast of Ride the Cyclone includes Alex Merkel (Ocean); Eric Amundson (Mischa); Eldon Warner-Soriano (Ricky); Diana Marilyn Alvarez (Constance); Dave Honigman (Karnak); Amelia Tam (Jane Doe); Peyton Owen (Noel); Connar Brown Sprenger (U/S Ocean); Eli Blanks (U/S Mischa); Aidan Leake (U/S Ricky); Rylee Michelle (U/S Constance); Ian Rigg (U/S Karnak); Z Mowry (U/S Jane Doe) and Joel D'Aroya (U/S Noel).

Ride the Cyclone's creative team is Lillian Castillo (director); Carolyn Brady (music director); Mandy Modic (choreographer); Angie Miller (scenic designer); Denise Karczewski (lighting designer); Sarah Ramos (sound designer); Rachel Boylan (costume designer); Miguel Ramos (wig and hair designer); Kelli Lawrence (props designer) and Tony Churchill (projections designer).

ABOUT LILLIAN CASTILLO, DIRECTOR

Lillian Castillo is honored to make her professional directorial and Metropolis debut. She is a proud Chicago actor, singer and acting coach who has had the pleasure of performing at many of Chicago's theatrical homes. Her most recent credits include: On Your Feet at Drury Lane Theatre; Titanic, Joseph and the Technicolor Dream Coat, 1776 and In the Heights at The Marriott Theatre; The Music Man at the Goodman Theatre and Comedy of Errors, Taming of the Shrew and of course the American Premiere of Ride the Cyclone at Chicago Shakespeare Theatre. Lillian spent 5 years workshopping Ride the Cyclone and bringing life to Constance Blackwood. She is thrilled to have punched her ticket to take this ride again from a new seat.

ABOUT CAROLYN BRADY, MUSIC DIRECTOR

Carolyn Brady returns to Metropolis after her debut as MD/Piano Conductor in The Wedding Singer this past spring. She operates a Chicagoland and national voice studio where her clients have appeared in the Broadway casts of The Book of Mormon and & Juliet; National Tours of The Book of Mormon and The Prom; NBC's "The Voice" and locally at Drury Lane, Marriott Theatre, Mercury Theater, Music Theater Works, Paramount, Porchlight Music Theatre and more. A four-time nominated music director, she has MD'd for Drury Lane (A Chorus Line, Cinderella, Beautiful: The Carole King Musical, A Christmas Carol), Steppenwolf (Lookout Series), Marriott Theatre (Elephant & Piggie), Paramount School of the Arts (The Lightning Thief, Mean Girls, & Matilda Jr.) and most recently she served as MD and Piano Conductor for Into the Woods at Saugatuck Center for the Arts in MI. She's a proud member of CFM Local 10-208. IG: @carolynbradymusic

ABOUT METROPOLIS PERFORMING ARTS CENTRE
Metropolis Performing Arts Centre is a vibrant cultural hub that enriches the community through inspiring live performances, creative arts education and impactful partnerships. It fosters artistic excellence, cultivates multi-generational connections and offers inclusive experiences that engage and uplift all community members. Located in the heart of downtown Arlington Heights, Metropolis is not just a theatre, it is the cultural pulse of the area, surrounded by premier shopping, dining and nightlife. Metropolis offers a dynamic year-round season of professional theatre, comedy, concerts and cabaret performances along with engaging arts education for ages 3 to 85 years old. Serving more than 65,000 patrons annually from across Chicagoland and beyond, Metropolis plays a pivotal role in the community. It provides arts education programs that support thousands of aspiring young artists, as well as community engagement initiatives like the Third Act Players (musical theatre for thespians over 50), Crescendo Chorus (for singers over 55), Flourish in the Footlights (for young artists with disabilities) and Clearbrook on Cue (for artists with disabilities). Metropolis is proud to partner with local organizations such as Endeavor Health, Arlington Heights Senior Center and Clearbrook. Scholarships are available for students at the School of the Performing Arts to ensure access to the arts for all.

Metropolis Performing Arts Centre, located in the heart of downtown Arlington Heights, 111 W. Campbell St., is proud to announce the cast and creative team for Ride the Cyclone, September 16 - October 25. Ride the Cyclone is presented with book, music and lyrics by Jacob Richmond and Brooke Maxwell. The Metropolis production is directed by original American cast member, Lillian Castillo, and music directed by Carolyn Brady. Previews are Wednesday, Sept. 16 through Friday, Sept. 18 at 7:30 p.m. and Saturday, Sept. 19 at 2 p.m. with a press opening Saturday, Sept. 19 at 7:30 p.m. The regular performance schedule is Thursdays and Fridays at 7:30 p.m. and Saturdays and Sundays at 2 and 7:30 p.m. The performance on Saturday, Sept. 26 at 2 p.m. will be closed captioned and the performance on Thursday, Oct. 8 at 7:30 p.m. will be ASL interpreted. Tickets are now on sale from $25 to $49 at MetropolisArts.com or by calling the box office at 847.577.2121. 

Metropolis Performing Arts Centre’s new staging of The Wizard of Oz sends audiences down the yellow brick road with a production that balances classic nostalgia with a warm, community centered spirit. Before the story unfolds, it’s worth remembering the legacy behind it: L. Frank Baum’s 1900 novel first introduced readers to Dorothy and the fantastical land of Oz, but it was the landmark 1939 MGM film that transformed the tale into a cultural touchstone. Judy Garland’s performance, the Technicolor world, and the Oscar winning score cemented the story’s place in American imagination. The film’s success inspired decades of stage adaptations, culminating in the Royal Shakespeare Company’s 1987 musical version by John Kane, which became the foundation for most modern theatrical productions, including Metropolis’ interpretation.

Under Tor Campbell’s direction and choreography, the familiar tale unfolds with clear narrative focus: Dorothy Gale’s unexpected journey from Kansas to the magical land of Oz, where she meets the Tin Man, Scarecrow, and Cowardly Lion and joins them on a quest to reach the Emerald City and seek help from the great and powerful Wizard of Oz. Along the way, the group navigates enchanted forests, poppy fields, and the looming threat of the Wicked Witch, discovering courage, heart, and the strength of friendship as their path winds toward home.

This stage version also introduces several comedic moments you won’t find in the classic film, a choice that gives the production a fresh, playful spirit. Campbell sprinkles in light audience interaction, small winks to the crowd, and character specific jokes that open up the world of Oz in ways only live theatre can. These additions never undermine the story’s sincerity; instead, they create a sense of shared fun between the performers and the audience, reminding viewers that Oz is not just magical - it’s delightfully unpredictable when experienced onstage.

While the larger roles across the cast are played with skill and presence, three performers emerge as the evening’s defining performances: Nora Wragg’s Dorothy, Jake Elkins’ Cowardly Lion, and Genevieve Thiers’s Wicked Witch. Wragg stands at the heart of the evening, offering a Dorothy shaped by sincerity, emotional clarity, and a vocal warmth and control that give her songs an effortless lift. Her speaking voice is particularly striking, at times uncannily reminiscent of Judy Garland, deepening the role’s authenticity without ever tipping into imitation. Elkins bursts onto the stage with bold humor and irresistible personality, turning the Cowardly Lion into a crowd-pleasing force of nature. Thiers brings commanding theatrical bite to the Wicked Witch, leaning into the character’s menace with sharp timing, confident presence, and seasoned comedic instincts that add a delicious flair to her villainy.

Nora Wragg as Dorothy Gale and Jake Elkins as Cowardly Lion in THe Wizard of Oz at Metropolis Performing Arts Centre. Nora Wragg as Dorothy Gale and Jake Elkins as Cowardly Lion. Photography by Jennifer Heim.

Around them, Gabriel Fries provides steady, grounded work in his dual roles as the Wizard and Professor Marvel, shifting between Marvel’s warmth and the Wizard’s bluster with ease. David Omari’s Tin Man adds soft vulnerability that complements the ensemble, and Corey Barlow, stepping in for Nolan F. Robinson II as the Scarecrow in the performance I saw, brings relaxed, playful movement and an easy charm that keeps the character loose-limbed throughout. Adding to the production’s appeal is Caliban Marie Spence, a real-life little dog who plays Toto and becomes an instant audience favorite with every appearance, a lovely touch of authenticity that heightens the show’s sense of wonder. Caliban was trained for the role by Danielle Spence, who is delightful onstage as Glinda the Good Witch, exuding kindness, confidence, and the gentle assurance that everything will be all right. Together, these performances guide the audience through Oz with warmth, personality, and a touch of real magic.

Two of the strongest forces pulling Dorothy toward home are the deep bond she shares with her dog Toto - whom she feels is her only true companion on the lonely Kansas farm and is threatened with being destroyed by the stern, vindictive neighbor Miss Gulch, who later appears in Oz as the Wicked Witch of the West - and the steadfast love of her hardworking Aunt Em, who has stepped into the role left vacant by Dorothy’s late mother. The Wizard of Oz is also one of the few films of its era to make a four‑legged companion feel like a true co‑star, and it’s always striking to me how naturally the actors work with Toto and how deeply he’s woven into Dorothy’s emotional world. In many ways, the entire story is set in motion because of him: Dorothy finding her inner self by rescuing Toto.

Metropolis’ use of a lightly trained dog reinforces that bond beautifully, grounding the story in something real and tender. Seeing an actual dog onstage makes the audience instantly understand Dorothy’s desperation to protect him from Miss Gulch’s threat, and her fierce devotion to Toto remains a surprisingly radical idea for a story of its time. He’s the companion who saved her from loneliness, and her determination to keep him safe becomes the catalyst for her entire journey - willing to leave everything she knows behind if it means preserving the friendship, love, and life of her dog. 

As of 2026, animal abuse - especially toward domesticated dogs and cats - remains a heartbreaking problem around the world. That’s part of why stories like The Wizard of Oz still matter: they show a young person treating her pet with genuine love, loyalty, and protection, reminding audiences how powerful and important that bond can be.

Shifting back to the company, Metropolis Performing Arts Centre’s Youth Ensemble brings the Munchkins to life with fun energy and crisp character work- along with other roles played, enriching every scene they step into. Their musical numbers sparkle with bright, unified group vocals, and their choreography is impressively sharp, full of buoyant movement and clean formations that give Munchkinland its joyful pulse.

The production’s technical storytelling reaches an early high point with the tornado sequence, staged with impressive clarity and imagination. Dancers swirl across the stage, waving billowing grey scrims that evoke churning storm clouds, while Forrest Gregor’s sound design layers convincing wind roars, rattling impacts, and atmospheric rumble. Tony Churchill’s projection design adds spiraling debris and sweeping gusts that intensify the chaos, culminating in a striking moment when Alyssa Mohn’s scenic design reveals Dorothy’s house splitting cleanly in half. Once Dorothy lands in Oz, the creative team transforms the stage from plain Kansas farmland into a magical, richly colored world through Sierra Walker’s strategic lighting, Churchill’s dynamic projections, and Theresa Ham’s vivid, whimsical costumes. The projections also allow both the Wizard and the Wicked Witch to appear larger than life, giving their scenes an added theatrical punch that heightens the story’s sense of wonder.

All of this visual ingenuity supports the larger emotional themes at the center of Metropolis’ interpretation. As director Tor Campbell notes, “At its heart, The Wizard of Oz is not about a destination. It is about resilience,” and “After every storm comes the possibility of a rainbow,” a pair of reflections that beautifully frame the production’s spirit and its enduring message.

Danielle Spence as Glinda and Nora Wragg as Dorothy Gale in The Wizard of Oz at Metropolis Performing Arts Centre.

One of the joys of this production is hearing the show’s classic songs delivered with such affection. Metropolis keeps all the musical touchstones that audiences expect, from the sweeping simplicity of “Somewhere Over the Rainbow” (beautifully sung by Wragg) to the buoyant charm of “We’re Off to See the Wizard,” “If I Only Had a Brain,” “If I Only Had a Heart,” and “If I Only Had the Nerve.” The familiar melodies land with an easy warmth, and Sharon Mason’s music direction ensures each number feels both lovingly preserved and freshly energized. Whether you grew up with the film or are discovering Oz for the first time, the score remains one of the production’s most delightful anchors, offering moments of nostalgia, humor, and pure musical joy.

This staging taps into the broad, welcoming appeal that has kept The Wizard of Oz alive for generations, offering a family friendly experience that works just as well for first‑timers as it does for lifelong fans. Young audiences get the magic, color, and adventure, while adults appreciate the faithful storytelling, classic score, and standout character work. With its beloved characters, recognizable songs, and heartfelt performances, Metropolis’ production celebrates courage, companionship, and the reminder that home is never as far away as it seems. Most of all, it rekindles that unmistakable childhood wonder the story has carried for decades, letting audiences feel like kids again as they’re swept up in bright colors, familiar melodies, and the simple joy of watching Dorothy and her friends discover who they are. It’s the kind of show where adults smile at memories they haven’t visited in years and younger audiences fall in love with Oz for the first time, a blend of fun, heart, and theatrical playfulness that sends you out of the theatre lighter than you walked in.

What also stands out in revisiting The Wizard of Oz is how much strength Baum gave his female characters, especially considering the story’s early 20th century origins. Dorothy may be young, but she drives the narrative through her choices, her compassion, and her determination to return home. Glinda’s calm authority and the Wicked Witch’s fierce, commanding presence form a striking contrast - two powerful women shaping the world of Oz in very different ways. Even within a fantasy framework, there’s symbolic weight in that dynamic: Dorothy’s journey becomes a quiet assertion of agency, resilience, and moral clarity at a time when female protagonists were rarely allowed such depth. Metropolis’ production highlights that legacy, reminding audiences that beneath the magic and spectacle lies a story where women hold the narrative’s heart, its danger, and its wisdom.

Audience logistics at Metropolis are refreshingly convenient. A free, multi-level parking garage sits just around the corner, making arrival and departure remarkably easy, and the surrounding streets offer a wide range of restaurants only steps from the theatre for pre- or post-show dining. Inside, the venue’s cozy seating creates an intimate viewing experience, and while the concessions stand offers a fine assortment of drinks, snack options are extremely limited. Patrons may want to bring their own munchies for intermission, though outside food is prohibited inside the theatre, making a quick bite before or after the show the most practical choice.

With the practicalities so thoughtfully handled, what remains is the simple joy of being swept into a world where imagination leads the way. In the end, this Wizard of Oz proves that the road to Emerald City is still paved with imagination, heart, and just enough whimsy to make you believe in magic all over again.

Recommended.

For tickets and more show info, visit https://www.metropolisarts.com/.

Vape! The Grease Parody, a hilariously unhinged spoof of the beloved stage and film musical Grease, will make its Chicago debut at the Apollo Theater, 2550 N. Lincoln Ave., Aug. 20 – Jan. 3, 2027. Travel Arts Journal called the production "a sharp, quick-witted comedy" and "a fast-and-furious production that can be summed up in one word: hilarious!" Tickets go on sale July 22 at 10 a.m. at vapethemusical.com. The press performances will be on Saturday, Aug. 22 at 2:30 and 7:30 p.m.

Written by Catie Hogan and Sketchworks Comedy, Vape! features lyrics and additional book by Billy Recce (A Musical About Star Wars, FIVE: The Musical Parody) and Danny Salles (TV's Joan and Melissa, Kathy Griffin: My Life on the D List). Produced by Sketchworks Comedy, with Seth Rudetsky and James Wesley Jackson serving as creative consultants, Vape! is directed by Jack Plotnick (Broadway's Disaster!), with choreography by Ashley Marinelli (Stranger Sings! The Parody Musical), and features music supervision and arrangements by Lena Gabrielle (Emojiland). Visceral Entertainment is the executive producer and general manager.

Vape! lovingly pokes fun at all of the wonderful moments, sexual innuendos, outrageous characters, rivalries and secret romances from the original musical. The hair products may have changed, but the drama and the thirst for hallway clout remain timeless. It's the musical you know and love, but dragged through a cloud of strawberry-scented vapor and a TikTok filter... It's the show that you want ("...Ooh! Ooh! Ooh, honey!").

Originally premiering in Atlanta in 2018, Vape! was scheduled to premiere in New York in August 2019. Ten days before the first performance, the rightsholders of Grease served Sketchworks Comedy a cease-and-desist letter, claiming Vape! violated their copyright. As a result, Sketchworks Comedy filed a lawsuit against Grease, believing that they were protected under fair use law. After a two-and-a-half-year legal battle, Chief Judge Laura Taylor Swain of the Southern District of New York ruled that Vape! is, indeed, a parody. Vape! Went on to make its triumphant debut in a celebrity packed benefit concert at NYC's Town Hall in 2025, followed by an extended run Off-Broadway.

"I am so thrilled to be returning to this wonderfully silly, in the best way, parody of one of my absolute favorite movies," said Plotnick. "After a fantastic Off-Broadway run in New York, I'm especially excited to bring Vape! to a great comedy town like Chicago, in the wonderfully intimate Apollo Theater. The space will allow us to create a really fun and totally unique experience for audiences, welcoming them right into the campus of Rydell High."

In response to its New York debut, Vape! The Grease Parody has received praise for its witty humor, energetic performances and fresh take on the beloved musical classic. Medium raved "Vape! Brilliantly blends the classic spirit of Grease with today's pop culture, with modern humor, clever writing and a cast full of charisma." TheaterScene called the production "brash, fast and unapologetically smart. The rare spoof that works both as satire and theater. Affectionate parody rooted in cultural truth," and Hollywood Press Corps hailed the production as "a must-see! A fun, irreverent night out, it's Grease, lovingly dismantled and reconstructed for a new generation. I couldn't stop laughing." Even the original producer of the 1972 New York debut of Grease, Ken Waissman, who brought the production to Broadway after seeing its premiere in Chicago at the Kingston Mines, described the musical as "a witty, funny and fully engaging sendup of our forever popular Grease... the excellent cast embodies the spirit of their '50s counterparts with absolute perfection."

Scenic design is by David Goldstein; costume design is by Matthew Solomon; lighting design is by Zach Pizza; sound design is by Daniel Lundberg, and props are by Brendan McCann. Casting is by Cindi Rush, and will be announced at a future date.

The performance schedule from Aug. 20 – Sept. 20 is as follows: 

• Thursdays and Fridays at 7:30 p.m.
• Saturdays at 2:30 and 7:30 p.m.
• Sundays at 2:30 p.m.  

Beginning Sept. 22, the performance schedule will be:

• Tuesdays through Fridays at 7:30 p.m. 
• Saturdays at 2:30 and 7:30 p.m.
• Sundays at 2:30 p.m.  

There will be Thursday matinees on the following dates: Oct. 8 and 22, Nov. 5 and 19 and Dec. 3 and 17.

Tickets go on sale July 22 at 10 a.m. and are priced from $45 - $65, with Pink Squad Premium Seating starting at $85, including all fees.  Tickets can be purchased at vapethemusical.com, by calling the Apollo Theater box office at 773-935-6100, or in person at the box office.  For group sales, contact Group Tix & Tours at 312-423-6612.

About the creators of Vape! 

JACK PLOTNICK (Director) co-wrote and directed the Broadway musical Disaster (NYT Critics Pick.), and the Sony Pictures feature film Space Station 76. He executive produced/starred in the feature film (and cult hit!) Girls Will Be Girls, which was featured on Netflix. As an actor, he's had regular and recurring roles on Grace and Frankie, Z Nation, The Mentalist, Buffy the Vampire Slayer, Reno 911 and Drawn Together, plus appearances in the films Meet the Fockers, Down With Love, Rubber and Gods and Monsters.

ASHLEY MARINELLI (Choreographer). Credits include Stranger Sings! (Winner of Broadway World's "Best Off-Broadway Choreography" Award), Welcome to the Big Dipper (Off Broadway), The Perfect Game (Off Broadway), A Musical About Star Wars (Off Broadway), Once Uponzi Time (McCarter Theater), American Psycho (Winner of Broadway World's "Best Regional Choreography" Award), The True and Unquestionable Account of Dr. Joseph Snodgrass (World Premiere), Mystic Pizza (Engeman Theater) and Techies (Winner of Kennedy Center CTF's "Certificate of Merit for Outstanding Choreography" Award). 

SKETCHWORKS COMEDY includes CATIE HOGAN, LEANNA ADAMS, JOHN BABCOCK, CASEY HOLLOWAY, JULIE SHAER and BRIAN TROXELL (Original Writers/Producers). Sketchworks has been entertaining Atlanta audiences with award-winning sketch comedy since 2001. Their ensemble features some of Atlanta's top working professional writers and actors who have been featured all over the film, TV, and commercial landscape. Vape! The Grease Parody is their first foray into musical parody. More at sketchworkscomedy.com. 

BILLY RECCE (Lyrics & Additional Book) is a composer/lyricist and playwright, whose musicals include Little Black Book, directed by Tony Award® Nominee Kristin Hanggi, and most recently was staged in concert at the Bowery Ballroom starring Tony Award® Nominee Orfeh. OffBroadway/NYC: Fowl Play (music and lyrics, directed by Olivier Award-Winner Tye Blue), FIVE: The Parody Musical (music and lyrics), A Musical About Star Wars (music and lyrics), Singfeld (music and orchestrations), Balloon Boy: The Musical (book, music and lyrics; NYMF's youngest ever writer). Licensed titles include Concord/Broadway Licensing's The Big Twist: A Musical OzVenture (music), and 10 Ways to Survive the Zombie Apocalypse: The Musical (music and lyrics), based on one of the most produced plays in America of the same name. He has developed musicals with Ensemble Studio Theatre, Barrington Stage and the Edinburgh Fringe. He is a Two-Time MAC Award winner, an Orchard Project Greenhouse member, a Bushwick Star Grant Awardee, a Relentless Award semi-finalist, a Eugene O'Neill Finalist, a NAMT finalist, a two-time Wallowitch Award finalist and a Jonathan Larson Grant Finalist. billyrecce.com 

DANNY SALLES (Lyrics & Additional Book) is a writer/director/producer for television and theater. He directed the holiday movie The Christmas Thief for ION TV and four seasons of the ABC comedy The Middle. He was showrunner and director on various comedic TV reality series: Joan Rivers' Joan and Melissa (WeTV), Kathy Griffin: My Life on the D-List (Bravo, Emmy nomination) and Todrick (MTV) and codirected the Emmy-winning Recipe for Change (YouTube). For the stage, Danny recently directed the musical The Perfect Game is addition to writing book and lyrics and directing the musical comedy satire The First Annual Trump Family Special in LA and Off-Broadway starring Gina Gershon. Salles is Director of Creative Development at Visceral Entertainment.

Broadway in Chicago’s latest offering at the Auditorium Theatre, & Juliet, bursts onto the stage with the kind of vibrant confidence that makes it clear this isn’t your high school Shakespeare. The production arrives as a full-throttle pop spectacle, gleefully mashing up Elizabethan trappings with late ’90s and early 2000s chart-toppers from Max Martin’s hit factory. It’s a show that knows exactly what it is: a glitter-soaked, self-aware remix of a classic that wastes no time inviting the audience into its playful rebellion against the tragic ending we’ve all been taught to accept. Since its 2019 world premiere in Manchester, & Juliet has evolved into an international hit, and this touring production carries that same electric swagger.

So, what is & Juliet? The musical tosses out the tragic final pages of Romeo and Juliet and launches into a sparkling, beat-driven alternate timeline where Juliet decides her story isn’t over. Shakespeare strides in ready to unveil his masterpiece, only to be challenged by his wife, Anne Hathaway, who argues that Juliet deserves more than a death scene. Their creative tug-of-war becomes the show’s framing device, with the couple rewriting the narrative in real time as Juliet, newly widowed, furious, and independent, sets off for Paris. Joined by the steadfast Nurse, Angélique, and May, a tender, nonbinary friend navigating their own romantic complications, Juliet begins carving out an identity that isn’t tethered to Verona’s star-crossed expectations.

Once Juliet arrives in Paris, the musical fully embraces its jukebox identity. Max Martin’s catalog - Britney Spears, Backstreet Boys, Katy Perry, Robyn, and more - becomes the emotional architecture of the plot, each anthem amplifying Juliet’s bursts of confidence, heartbreak, and rebellion. A new love interest, a handful of identity mix-ups, and the inconvenient reappearance of a very alive Romeo keep the story spinning with lively drive. Beneath the glossy sheen, the show’s core is Juliet’s reclamation of her narrative: she challenges every man, myth, and playwright who tries to script her life. Much like Greta Gerwig’s Barbie, & Juliet reframes a familiar figure by handing her the agency she was never originally given. By the final number, the musical has transformed a centuries-old tragedy into a neon-bright celebration of autonomy, reinvention, and the exhilarating freedom of choosing your own ending.

Fabiola Caraballo Quijada and the company of the North American Tour of & JULIET - Photo Credit Evan Zimmerman for MurphyMade.

Riding the show’s high-voltage spark, Joey Fatone slides into the role of Lance with an easy, self-aware charm that fits perfectly with & Juliet’s playful spirit. As a founding member of *NSYNC and a frequent Max Martin collaborator, Fatone is woven into the DNA of the musical’s soundtrack, giving his performance an extra layer of authenticity. His résumé stretches from Broadway to television to his memorable turn in My Big Fat Greek Wedding, but it’s his work here that stands out: he brings crisp, confident vocals and an easy comedic charm that consistently lifts the charge onstage. Fatone proves he’s far more than a nostalgic casting choice, emerging as one of the production’s most charismatic assets.

Fabiola Caraballo Quijada leads the company with a performance that feels like the show’s beating heart, delivering Juliet with a thrilling mix of vocal firepower and emotional nuance. She tears into Max Martin staples like “...Baby One More Time” and “Since U Been Gone” with bright, commanding vocals, then pivots into moments of vulnerability that make Juliet’s journey feel genuinely earned. Her presence centers the production, funny, fierce, and fully in control.

The supporting cast matches her drive with sharp, engaging work across the board. CJ Eldred’s Shakespeare brings a sly, lightly exasperated charm, leaning into the playwright’s ego without overplaying it, while Crystal Kellogg’s Anne Hathaway counters him with warmth, clean comic timing, and an easy wit. Together, they turn their marital back-and-forth into a steady, engaging thread that helps anchor the show’s driving rhythm and provides some of its funniest moments. Nico Ochoa’s May delivers one of the evening’s most affecting performances, especially in “I’m Not a Girl, Not Yet a Woman,” sung with disarming honesty. Joseph Torres dives gleefully into Romeo’s chaotic bravado, Noah Marlowe’s François adds irresistible comedic sparkle, and Kathryn Allison’s Angélique unleashes powerhouse vocals that stop the show in its tracks. Together, they form a tight, dynamic ensemble that amplifies Juliet’s story and keeps the production pulsing with life.

The show also finds touching emotional beats in Fatone’s Lance, whose scenes with Marlowe’s François carry a gentle, fatherly warmth that echoes the same kindness in François’s growing bond with Ochoa’s May.

Fatone and Allison’s duet on “Overprotected” is a standout, giving Lance and Angélique’s reunion a burst of humor and genuine warmth, and it’s just the start of Fatone’s musical impact throughout the night. His biggest showcase, “Teenage Dream,” becomes a warm, gently comic surprise as he embraces the Katy Perry hit with earnest, velvety vocals that give the number a sweetness you don’t see coming. Fatone may play Lance as the show’s affable comic relief, but his pop pedigree shows; every musical moment feels relaxed, lived in, and delivered with the kind of easy charisma that lifts the entire stage. It would have been nice to hear another number or two from him, especially since he proves he can still bust a move in the big ensemble dance feature “Everybody (Backstreet’s Back).”

The ensemble deserves its own praise, offering crisp harmonies, sharp choreography, and a lively spirit that keeps the show’s force surging. They match Fatone’s charisma beat for beat, creating a lively backdrop that makes each of his musical moments land even more effectively. Their collective precision and enthusiasm elevate the production, giving the score the full, joyful lift it needs.

The company of the North American Tour of & JULIET (1) - Photo Credit Evan Zimmerman for MurphyMade.

If there’s anything I’d tweak, it’s that a few of the show’s narrative threads resolve a bit quickly in Act II, especially once Romeo crashes back into the story and the plot starts juggling multiple character arcs at once. The momentum never falters, but you can feel the show accelerating to tie up loose ends, which leaves certain beats landing faster than they need to. Like many jukebox musicals, a handful of emotional moments feel shaped more by the song than the situation, and a couple of supporting journeys wrap up a bit neatly compared to Juliet’s richer, more fully realized arc. These aren’t flaws so much as brief soft spots in an otherwise confident production, but they do create moments where the storytelling feels slightly compressed next to the show’s usual clarity, wit, and spark.

Even with those brief pacing dips, the production stays remarkably unified, and much of that cohesion comes from the creative team’s razor-sharp vision and assured hand. With a book by David West Read, the Emmy-winning writer behind Schitt’s Creek, the show’s humor lands with a cheerful, contemporary snap that is clever without ever feeling smug and heartfelt without tipping into sentimentality. Luke Sheppard’s direction keeps the pace brisk and the tone delightfully self-aware, guiding the audience through rapid-fire shifts between Shakespearean parody and pop-musical exuberance. Jennifer Weber’s Emmy-winning choreography is the engine that keeps the whole thing pulsing, layering crisp, high-impact movement over Max Martin’s hits in ways that feel both nostalgic and freshly inventive. Together, they shape a production that is as smart as it is spectacular, proving that & Juliet succeeds because its creative foundation is every bit as strong as its glittery, radio-hit exterior.

What I love is how much the show feels like a full-tilt party. Throughout the night, the musical keeps slipping into irresistible, disco-bright bursts of celebration - confetti, fireworks, and bouncy dance numbers - the kind that wash over the Auditorium Theatre with a buoyant, communal energy. Even the live band, tucked out of sight, delivers with such punch that the show takes on a concert-like charge at times. By the end, the audience is on its feet, cheering as if they’ve been part of the celebration all along.

The design team behind & Juliet gives this touring production its glossy, high-octane finish, each element snapping together with precision. Soutra Gilmour’s scenic design provides a playful, ever-shifting backdrop, while Howard Hudson’s lighting drenches the stage in radiant color and concert-style intensity. Paloma Young’s costumes amplify the show’s turn-of-the-millennium exuberance, blending Shakespearean silhouettes with modern pop flair to mirror the musical’s playful collision of eras, and Gareth Owen’s sound design keeps Max Martin’s hits punchy and impeccably balanced. Add Andrzej Goulding’s video and projection work, and you get a production that feels polished, cohesive, and irresistibly alive.

& Juliet continues to light up Chicago with glitter, heart, and high-voltage joy, and this touring production proves itself an outright delight. Running July 22 through August 2, 2026, the Broadway in Chicago engagement at the Auditorium Theatre delivers a vibrant, tightly crafted experience that never loses sight of its emotional core. With a knockout lead performance, a dynamic ensemble, and a creative team working at peak imagination, this tour shows exactly why & Juliet has become one of the most irresistible modern musicals. It is a jubilant, neon-bright celebration of rewriting your own story and absolutely worth catching before it dances out of the city.

Highly recommended.

https://andjulietbroadway.com/

https://www.broadwayinchicago.com/shows/and-juliet/

Following its critically acclaimed productions of Sweeney Todd and Into the Woods, Kokandy Productions once again celebrates the great Stephen Sondheim with a revival of his stunning masterpiece Sunday in the Park with George, playing August 13 – November 1, 2026 in the intimate Chopin Downstairs Studio, 1543 W. Division St. in Chicago. Tickets are on sale now at kokandyproductions.com or bit.ly/SundayChicago. 

This beloved musical will feature Kevin Webb (Sweeney Todd, Into the Woods) as George and Missy Wise Vanderzee (Bonnie & Clyde) as Dot/Marie with an ensemble including Nick Arceo as Boatman, Danny Andrew Bennett as Jules, Rachel Carreras as Nurse, Ella Carson as Louise, Emily Holland as Celeste 1, Lauren Miller as Old Lady, Z Moore as Franz, Samantha Ringor as Celeste 2, KyraJo Petit-Walla as Frieda, Nathe Rowbotham as Yvonne, Jack Saunders as Soldier and Abraham Shaw as Louis. Swings include Brittney Brown, David Gordon-Johnson, Gabriel Levi, Brady Magruder, Halli Morgan, Sarah Seidler and Elexis Selmon.

The first Chicago storefront production Sunday in the Park with George in over 15 years is directed and choreographed by Producing Artistic Director Derek Van Barham with music direction by Nick Sul, book by James Lapine and music and lyrics by Stephen Sondheim.

About the Production

Inspired by the painting, "A Sunday Afternoon on the Island of La Grande Jatte" by Georges Seurat, Sunday in the Park with George merges past and present into beautiful, poignant truths about life, love and the creation of art. One of the most acclaimed musicals of our time, this moving study of the enigmatic painter, Georges Seurat, won a Pulitzer Prize and was nominated for an astounding ten Tony Awards, including Best Musical.

"Sunday in the Park with George was one of the first shows I pitched to direct when interviewing to join the company back in 2018," says Producing Artistic Director Derek Van Barham. "It's almost a decade later and we're finally visiting this astonishing masterpiece. It feels like the right time. The show offers us a chance to reflect on what we've been creating and to look forward at what we still hope to achieve – both as a company and as individual artists. Sunday reminds us not to linger too much on the future or the past, but to focus on the present moment, to connect with each other in real space and time. What a gift that will be. What a gift it is to be together in a room, taking in a piece of art, having communal and singular experiences at the same time."

The production team includes G "Max" Maxin IV (Scenic and Lighting Design), Rachel Sypniewski (Costume Design), Matt Reich (Sound Design), Julian Weslander (Properties Design), Syd Genco (Makeup Design), Keith Ryan (Wig and Hair Design), Stone TeSelle (Associate Scenic Design), Shane Roberie (Casting Director), Nicholas Reinhart (Production Manager), Amelia Osborn (Associate Production Manager), Kendyl Meyer (Stage Manager), Ethan Colish (Assistant Stage Manager), Michael Coppola (Stage Management Intern), Scot Kokandy (Executive Producer) and Derek Van Barham (Producing Artistic Director).

PRODUCTION DETAILS:

Title: Sunday in the Park with George

Book: James Lapine

Music & Lyrics: Stephen Sondheim

Director and Choreographer: Producing Artistic Director Derek Van Barham

Music Director: Nick Sula

Cast (in alphabetical order): Nick Arceo (Boatman), Danny Andrew Bennett (Jules), Ella Carson (Louise), Rachel Carreras (Nurse), Emily Holland (Celeste 1), Lauren Miller (Old Lady), Z Moore (Franz), KyraJo Petit-Walla (Frieda), Samantha Ringor (Celeste 2), Nathe Rowbotham (Yvonne), Jack Saunders (Soldier), Abraham Shaw (Louis), Kevin Webb (George) and Missy Wise Vanderzee (Dot/Marie).

Swings: Brittney Brown, David Gordon-Johnson, Gabriel Levi, Brady Magruder, Halli Morgan, Sarah Seidler and Elexis Selmon

Location: Chopin Downstairs Studio, 1543 W. Division St., Chicago

Dates: Previews: Thursday, August 13 – Friday, August 28, 2026

Regular run: Sunday, August 30 – Sunday, November 1, 2026

Curtain Times: Thursdays, Fridays and Saturdays at 7 pm; Sundays at 5 pm.

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

Sunday in the Park with George is presented through

special arrangement with Music Theatre International (MTI).

About the Artists

Derek Van Barham (Director and Choreographer) is the Producing Artistic Director of Kokandy Productions. Directing credits include Children of Eden in Concert (Broadway In Chicago), Jekyll & Hyde (BIC/Kokandy), Amélie, Into the Woods, Alice by Heart, Sweeney Todd, American Psycho, Head Over Heels (4 Jeff Awards and 3 Jeff nominations, Kokandy); Spring Awakening (Flint Rep); Rock of Ages (Metropolis); The View Upstairs (Circle Theatre); Miracle by Dan Savage, Poseidon (Hell in a Handbag) Natasha Pierre and the Great Comet of 1812, Carrie, Bat Boy, Merrily We Roll Along (CCPA/Roosevelt University). Choreography credits include Evil Dead (Jeff nomination), Coraline the Musical, Ghost Quartet and Shockheaded Peter (Black Button Eyes). He was previously named one of Windy City Times' 30 Under 30, and one of Newcity Magazine's 50 Players 2024 and 2026. MFA: CCPA/Roosevelt University. IG: @dvbarham

Nick Sula (Music Director) is an award-winning pianist and music director, proud to return to Kokandy Productions and the Chopin Theatre where he served as music director for the Jeff Award-winning productions of Jekyll & Hyde (Jeff Award for Outstanding Music Direction), Sweeney Todd (Jeff Award for Outstanding Music Direction), Into the Woods (Jeff Awards for Outstanding Music Direction and Orchestrations) and the Chicago Musical Theatre Festival. Other Chicago theatre music direction credits include: Octet (Raven Theatre); Anything Goes (Porchlight Music Theatre); Ghost Quartet (Black Button Eyes Productions). As a professor of musical theatre he serves as a music director, instructor and vocal coach at the Chicago College of Performing Arts at Roosevelt University.

About Kokandy Productions

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

The company's artistic staff is comprised of Derek Van Barham (Producing Artistic Director), Scot Kokandy (Executive Producer) and Adrian Abel Azevedo & Leda Hoffman (Artistic Associates). The Board of Directors includes Preston Cropp, Scot T. Kokandy, Danielle Sparklin and Katie Svaicer. 

For additional information, visit kokandyproductions.com. 

Broadway In Chicago is thrilled to announce that single tickets for Tony® and Olivier Award®-winning OPERATION MINCEMEAT: A NEW MUSICAL, Entertainment Weekly’s #1 Broadway Show of 2025, are now on sale. OPERATION MINCEMEAT: A NEW MUSICAL will play Broadway In Chicago’s CIBC Theatre (18 W. Monroe St.) for a limited two-week engagement, September 29 – October 11, on its North American leg of its World Tour.

In OPERATION MINCEMEAT: A NEW MUSICAL, it’s 1943, and the Allied Forces are on the ropes. Luckily, they’ve got a trick up their sleeve. Well, not up their sleeve, per se, but rather inside the pocket of a stolen corpse. Equal parts farce, thriller, and Ian Fleming-style spy caper (with an assist from Mr. Fleming himself), OPERATION MINCEMEAT tells the wildly improbable and hilarious true story of the covert operation that turned the tide of WWII.

Written by triple Tony Award nominees SpitLip (comprised of David Cumming, Felix Hagan, Natasha Hodgson, and Zoë Roberts), OPERATION MINCEMEAT began performances on Broadway on February 15, 2025, and continues to play at the historic Golden Theatre (252 West 45th Street), where it has been extended eight times and will soon celebrate its 500^th performance. The West End production, which has been playing at the Fortune Theatre since March 29, 2023, is widely recognized as one of the best-reviewed shows in West End history, holding the record for the most five-star reviews for a new musical, with a tally of 131. OPERATION MINCEMEAT has just launched its world tour, beginning with a UK leg before heading across the pond.

Olivier Award nominated Robert Hastie (Standing at the Sky’s Edge, National Theatre – Best New Musical Olivier Award winner) will reprise his work for the tour, while Olivier Award nominated Jenny Arnold (Jerry Springer: The Opera, National Theatre) continues as Choreographer. The creative team will include Olivier nominated Set and Costume Designer Ben Stones (Standing at the Sky’s Edge), Tony and Olivier winning Lighting Designer Mark Henderson (The History Boys), Tony nominated Sound Designer Mike Walker (Charlie & The Chocolate Factory), Tony nominated Orchestrator Steve Sidwell (Beautiful: The Carole King Musical), and Olivier nominated Music Supervisor Joe Bunker (Spring Awakening). Georgie Staight is Associate Director and Paul Isaiah Isles is Associate Choreographer. Production Stage Management is by Geoff Maus, Casting is by Carrie Gardner, CSA, and General Management is by TT Partners.

OPERATION MINCEMEAT has been nominated for 64 awards since opening at the 77-seat New Diorama Theatre in 2019, winning 13, including Best Musical three times, from the Olivier Awards®, WhatsOnStage Awards, and Off-West End Awards. On Broadway, the show was nominated for four Tony Awards® in 2025, including Best Musical. The production won Best Featured Actor in a Musical for Jak Malone ’s portrayal of Hester Leggatt, who previously won the Olivier Award® in the same category. The production has also received nominations for Outstanding Production of a Musical at the Drama League Awards, Outstanding New Broadway Musical at the Outer Critics Circle Awards, Best Musical at the BroadwayWorld Theater Fans’ Choice Awards, and Favorite New Musical at the Broadway.com Audience Choice Awards.

Over 2,000 performances – from its origins on the London Fringe to the West End, to Broadway, OPERATION MINCEMEAT has cultivated a fervent fanbase, affectionately dubbed “Mincefluencers.” On Broadway alone, more than 2,000 audience members – roughly one in fifty – have bought tickets for multiple performances, including 53 superfans who have purchased tickets for ten or more shows.

OPERATION MINCEMEAT is produced on Broadway, in the West End and on its world tour by Avalon (in association with SpitLip). The show was commissioned by New Diorama Theatre, co-commissioned by The Lowry, and also supported by the Rhinebeck Writers Retreat.

For more information, visit operationmincemeat.com/tour/us
Follow OPERATION MINCEMEAT on TikTok, X, and Instagram.

TICKET INFORMATION (As of July 17, based on availability and subject to change)
Individual tickets for OPERATION MINCEMEAT: A NEW MUSICAL are on sale now and range from $40.00 - $135.00 with a select number of premium tickets available. Ticket price listed is when purchased in person at the box office. Additional fees apply for online purchases. Tickets are available now for groups of 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. For more information, visit www.BroadwayInChicago.com.

ABOUT BROADWAY IN CHICAGO
Broadway In Chicago was created in July 2000 and over the past 26 years has grown to be one of the largest commercial touring homes in the country. A Nederlander Presentation, Broadway In Chicago lights up the Chicago Theater District entertaining up to 1.7 million people annually in five theatres. Broadway In Chicago presents a full range of entertainment, including musicals and plays, on the stages of five of the finest theatres in Chicago’s Loop including the Cadillac Palace Theatre, CIBC Theatre, James M. Nederlander Theatre, The Auditorium, and just off the Magnificent Mile, the Broadway Playhouse at Water Tower Place.
 

For more information and tickets, visit www.BroadwayInChicago.com.
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Kokandy Productions’ HAIR revival lets the sunshine in this summer at the Chopin Theatre. Directed and choreographed by Brennan Urbi, this remount is a fresh, funky and poignant riff on the classic 1960s tribal love-rock musical by Galt MacDermot. The large cast of new and returning Kokandy faces bring this musical out of its time capsule and into the 21st century with incredible vocals and unwieldy energy. In short, this cast is having a blast and so will you.

HAIR is one of the rare musicals whose songs actually crossed over into mainstream pop/rock. Perhaps most notably by way of The 5th Dimension’s iconic medley of ‘Aquarius’ and ‘Let the Sunshine In’ from 1969. However, one doesn’t have to look far to find songs like ‘Good Morning, Starshine’ and the title track ‘Hair’ used throughout pop culture. Re: Simpsons did it. Most people who have never seen HAIR the stage musical, or its film adaptation are at least somewhat familiar with its refraining choruses.

That said, by now HAIR has been lampooned as a shallow hippie fever dream known for simulated pot smoking and full-frontal nudity. Some elements of the musical might support the stereotype, but Urbi digs deeper into the lyrics and book by Gerome Rangi and James Rado and creates a much more cohesive and contemporary production than even the renowned 2009 Broadway revival.

(left to right) Diana Marilyn Alvarez, Joshua Emmanuel, Chosen Mitchell, Kijani Xand Caitlin Dobbins in Kokandy Productions’ revival of HAIR. Photo by Michael Brosilow.

While HAIR might lack an immediate plotline, it instead spends the first third of the show exploring the themes of the 1960s counterculture through conceptual songs that don’t quite further the action but are incredibly catchy. Claude, Berger and Sheila emerge as the show’s main protagonists, which is where things get more interesting.

Berger is the tribe’s ringleader, a young sexually charged dropout played by Zac Richey. His main concern is certainly the “free love” element of hippy culture and not much else. Claude serves as the show’s moral compass–another dropout who questions the ethics of dodging the draft and whether hippie culture is as altruistic as it claims. Sheila, played by Catherine Rodriguez O’Connor, is an activist caught between the two male leads. Her voice is showstopping throughout, especially during the arresting finale.

Style is an essential component of HAIR. While it’s impossible to stray far from the 1960s given its direct references to the Vietnam War, costume designer Rachel Sypniewski and lighting designer G “Max” Maxin IV, bring a certain modern rave aesthetic to Kokandy’s production. Those who choose to sit on scenic designer Eleanor Kahn’s conversation pit-flavored set will be richly rewarded by all the trippy lights and wild action happening around them.

HAIR is a largely ensemble-driven show and they’re doing their job well here. The character Dionne begins the show with a stirring version of ‘Aquarius’ impeccably sung by Chosen Mitchell. Honestly, any production of HAIR is only as good as its Dionne. You won’t be able to take your eyes off Mitchell whose vocal gymnastics throughout the show will make the hair on your arms stand up. Styled perfectly against the club lighting, Mitchell proves to be the show’s hidden gem. It’s a hard bar to clear as this ensemble is giving some of the tightest harmonies Kokandy has ever produced.

This revival of HAIR is one for the Chicago books. It captures the spirit of the 1960s, but with the frustrations of 2026 youth culture it begs the question, how on Earth are we still singing about more or less the same societal ills?

Through September 13 at Kokandy Productions at the Chopin Theatre. 1543 W Division St. 773-278-1500

https://www.kokandyproductions.com/

Dave Malloy’s Octet is a musical with daring aspirations, currently gracing the stage in a powerhouse co-production between the Raven Theatre and the Goodman Theatre. This staging, directed by Keira Fromm, first debuted at the intimate Raven Theatre, where it enjoyed a highly successful run before its move to the Goodman - a transition that proves the project is as robust as it is ambitious. Octet stands apart as a completely a cappella experience, relying entirely on the human voice to build its intricate, immersive, and haunting soundscape.

Malloy’s imprint is everywhere in this piece. He wrote the music, lyrics, book, and even the intricate vocal arrangements, crafting a score constructed without a single instrument to generate its tension, beauty, and emotional architecture.

Set in a sparse, church-basement style meeting room, the play introduces us to the “Friends of Saul,” a support group for people struggling with internet addiction. Their relationship to the online world is so fraught that they refuse to say its name, calling it only “the monster” to avoid giving it more power. Throughout their time together, the eight participants take turns sharing fears of being canceled, pornography, gaming, the pull of incel communities, and the inability to connect with others. Their discussions are brutally honest, darkly comedic, laced with expletives, and at one point offer an especially disturbing illustration of just how grotesque the monster can be. It’s unlike anything before.

The show threads each character’s intimate, emotionally charged account into sweeping ensemble passages that rise like contemporary hymns, the group joining voices to confront and grieve the “monster” that binds them. The interplay creates a pulse that feels communal and ritualistic, as though every personal admission is carried forward and reshaped by the collective.

The performances are nothing short of a whirlwind. The talent onstage is beyond belief. The ensemble showcases astonishing vocal mastery, blending with precision to create rich, enveloping music.

Sam Shankman in Dave Malloy's Octet at Goodman THeatre in collaboration with Raven Theatre. Photo by Joe Mazza. 

Neala Barron, as Jessica, is phenomenal with powerhouse vocals and a dynamic stage presence. Her rendition of “Refresh” is delivered with the intensity of a tiger trapped in a cage, perfectly capturing the visceral feeling of being humiliated online and the subsequent rage against the world. Along with dramatic chops, she makes her comedic lines sizzle.

Sam Shankman plays the comedy perfectly as Henry. His portrayal of a tone-deaf, slightly dorky addict is both identifiable and deeply empathetic. His song “Candy” is a standout that demonstrates how this ensemble can craft story using only a cappella sound and how their movement reinforces the narrative.

Teressa La Gamba, as Paula, the group’s moderator, brings a gentle strength and compassion that helps root the show. But when she sings, it feels as if the roof will fly off. She commands the stage with perfect vocal precision, whether in a solo or complex ensemble passages.

The set is intentionally sparse and open, which functions perfectly for the show’s focused format, a choice scenic designer Milo Bue shapes with thoughtful restraint. The lighting design, crafted by Maximo Grano de Oro, is similarly impressive. Overhead lights shift deftly from the feel of a bland meeting room to the vibrant, chaotic interior of a Candy Crush interface or the dark corners of a character’s mind. In an instant, you can be transported to an entirely different plane and lost in its overwhelming atmosphere.

As the plot unravels, the staging seems intent on exploring where hope can or cannot be found, and it makes clear that faith-based religion is not where it looks. The script often approaches Christian belief with a skeptical edge, sketching certain “believer” archetypes in broad, unflattering strokes. The structure of “Friends of Saul” reinforces this orientation, lightly echoing the format of Alcoholics Anonymous. AA, one of the most widely recognized recovery communities, is often described as spiritual in nature, while many participants experience it as rooted in a faith-guided model, as it was originally intended. “Friends of Saul,” by contrast, operates with a more nonreligious bent, occasionally running out of pamphlets for “Steps for Agnostics and Atheists,” a detail made all the more ironic given that their meetings take place in a church basement - a space that pointedly distances itself from the faith‑oriented tradition AA is often associated with.

That contrast deepens in “Little God,” one of the staging’s more unusual songs. Here, Marvin (Jordan Golding), a committed atheist, describes an encounter with an all-powerful being represented onstage by a small girl and reflects on his compulsion to debate creationists about evolution. The moment is very much Malloy’s choice, framing Marvin’s fixation as a kind of intellectual loop: the irresistible pull of trying to reason through the idea that something as vast as existence might emerge from nothing at all, a purposeful artistic angle that shapes the show’s worldview.

Given these choices, the staging’s perspective may not resonate as strongly with audiences who hold traditional Christian views, which seems intentional, reflecting a deliberate direction in Malloy’s overall vision. In contrast, the show places greater emphasis on new age spirituality and tarot, treating these elements with notable sincerity. Each character has direct parallels to tarot cards, and Velma (Joryhebel Ginorio) finds her spiritual awakening through them. In fact, she is the only member of the group who speaks the monster’s true name, “internet,” throughout the night. Ultimately, the musical suggests that a blend of new age spirituality and human connection is the most viable path to inner peace.

Although these elements may pose challenges for certain audiences, Octet remains a triumph of vocal performance. These actors represent the highest caliber of Chicago talent, and when their voices come together, the result is breathtaking and inspiring. If you are looking for choral artistry, Octet delivers. For some audiences, Octet’s philosophical stance may feel more contemplative than corrective, raising more questions than answers about our relationship to the online world - but its musical brilliance makes the journey more than worthwhile.

Recommended.

Venue: The Goodman Theatre – The Owen 170 N. Dearborn Street, Chicago

Run Dates: Through August 2

Performance Schedule:

• Wednesdays: 7:30 p.m.
• Thursdays: 2:00 p.m. & 7:30 p.m. (No evening performance on July 30)
• Fridays: 7:30 p.m.
• Saturdays: 1:00 p.m. & 7:30 p.m.
• Sundays: 2:00 p.m. (Additional 7:30 p.m. performance on August 2)

Running Time: 1 hour, 35 minutes (no intermission)

Box Office: 312-443-3800

Tickets: https://www.goodmantheatre.org

Get ready to have the time of your life! Broadway In Chicago is pleased to announce that single tickets for DIRTY DANCING: THE MUSICAL – a new stage production based on Lionsgate’s beloved film Dirty Dancing – are now on sale. DIRTY DANCING: THE MUSICAL will play Broadway In Chicago’s James M. Nederlander Theatre (24 W. Randolph St.) for a limited two-week engagement, September 9 – 20.

Set against the unforgettable summer of 1963, DIRTY DANCING: THE MUSICAL follows Frances “Baby” Houseman as she discovers love, passion, and independence through her relationship with charismatic dance instructor Johnny Castle. With live music from the original film, DIRTY DANCING: THE MUSICAL is the feel-good escape audiences have been craving, alive with the pulse of electrified dancing, the thrill of secret encounters, and the allure of forbidden romance.

DIRTY DANCING: THE MUSICAL will be directed by Tony Award^® nominee, Obie Award^® winner, and two-time Emmy Award^® winner Lonny Price (Sunset Boulevard, Sweeney Todd), who played Neil Kellerman in the original Dirty Dancing film, with choreography by Darrell Grand Moultrie (Fat Ham, Beyonce’s World Tour). Bringing to the stage the celebrated story from Eleanor Bergstein — the original screenwriter of the film — the musical captures the pulse, romance, and youthful urgency that have defined Dirty Dancing for nearly four decades. This follows Lionsgate’s announcement that the Dirty Dancing sequel starring Jennifer Grey – from The Hunger Games producers Nina Jacobson and Brad Simpson– will begin production this year.

With a fresh creative approach to the timeless love story, this new production will tour North America with an aim to reconnect audiences with the heart, heat, and rebellious spirit that made Dirty Dancing a worldwide sensation.

Dirty Dancing is an enduring cultural phenomenon that began with the iconic film that grossed over $200 million at the worldwide box office and went on to launch two multiplatinum soundtrack albums, numerous #1 hit singles, won an Academy Award^® for Best Original Song and a Grammy^® Award for Best Pop Performance by a Duo or Group with Vocals. The original film is one of Lionsgate’s all-time best-selling library titles. This new North American stage tour aims to honor that legacy while reinventing the live experience for a new era.

DIRTY DANCING: THE MUSICAL is produced by The Path Entertainment Group in conjunction with Lionsgate and Magic Hour Productions.

The creative team includes set design by Brett J. Banakis, costume design by Emily Rebholz, lighting design by Japhy Weideman, sound design by two-time Tony Award® winner Kai Harada, and video design by David Bengali. Casting is by The TRC Company / Claire Burke, CSA & Peter Van Dam, CSA, with music supervision and arrangements by Joseph Joubert. Alchemy Production Group serves as General Manager.

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@DirtyDancingMusical
DDMusical.com

PERFORMANCE SCHEDULE
Wednesday, September 9 – 7:00 p.m.
Thursday, September 10 – 1:00 p.m. & 7:00 p.m.
Friday, September 11 – 7:00 p.m.
Saturday, September 12 – 2:00 p.m. & 7:30 p.m.
Sunday, September 13 – 1:00 p.m. & 6:30 p.m.

Tuesday, September 15 – 7:00 p.m.
Wednesday, September 16 – 1:00 p.m. & 7:00 p.m.
Thursday, September 17 – 7:00 p.m.
Friday, September 18 – 7:00 p.m.
Saturday, September 19 – 2:00 p.m. & 7:30 p.m.
Sunday, September 20 – 1:00 p.m.

TICKET INFORMATION (As of July 13, based on availability and subject to change)
Individual tickets for DIRTY DANCING: THE MUSICAL are on sale now and range from $40.00 - $135.00 with a select number of premium tickets available. Ticket price listed is when purchased in person at the box office. Additional fees apply for online purchases. Tickets are available now for groups of 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. For more information, visit www.BroadwayInChicago.com.

ABOUT BROADWAY IN CHICAGO
Broadway In Chicago was created in July 2000 and over the past 26 years has grown to be one of the largest commercial touring homes in the country. A Nederlander Presentation, Broadway In Chicago lights up the Chicago Theater District entertaining up to 1.7 million people annually in five theatres. Broadway In Chicago presents a full range of entertainment, including musicals and plays, on the stages of five of the finest theatres in Chicago’s Loop including the Cadillac Palace Theatre, CIBC Theatre, James M. Nederlander Theatre, The Auditorium, and just off the Magnificent Mile, the Broadway Playhouse at Water Tower Place.
 

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